UC-NRLF 


*B    2<n    12M 


THE  HOUSE  OF 
THE  HEART  &. 
OTHER  PLAYS 
FOR  CHILDREN 

BY 
CONSTANCE  DARCYMACKAY 


1 


4 


THE  HOUSE  OF  THE 
HEART  AND  OTHER 
PLAYS    FOR    CHILDREN 

Designed  for  use  in  the  schools 


BY 

CONSTANCE  D'ARCY  MACKAY 


NEW  YORK 

HENRY  HOLT  AND    COMPANY 


<&A*^tm   -te/O&g 


Copyright,  1909, 

BY 

HENRY  HOLT  AND  COMPANY 

Published  November,  1909 

No  performance  of  these  plays  may  be  given  without  full  ac- 
knowledgment to  the  author  and  publishers.  Where  a  play  is 
wot  the  title  play  of  the  volume,  as  in  the  case  of  The  Elf  Child, 
acknowledgment  should  be  made  to  read  as  follows  :  "  By  Con- 
stance D'Arcy  Mackay  ;  from  The  House  of  the  Heart  and  Other 
Plays  for  Children;  Copyright,  1009,  by  Henry  Holt  and  Com- 
pany; Produced  by  arrangement  with  the  publishers."  Where  a 
play  is  named  in  the  title  of  the  volume  of  course  the  acknowl- 
edgment need  not  state  what  volume  it  is  from. 

Amateurs  may  produce  the  plays   in    this   volume    upon    pay- 
ment to  the  publishers  of  $2.00  for  each  and  every  performance 
of  any  one   play.      Professional  actors   must  apply    for   acting 
rights  to  the  author,  in  care  of  the  publishers. 
June,  ig2<? 


PRINTED  IN  THE  U.  S.  A. 


TO  MY  MOTHER 


729299 


Speaking  of  the  dramatic  instinct  Presi- 
dent Eliot  of  Harvard  has  lately  said: 

Here  is  this  tremendous  power  over 
children  .  .  .  that  ought  to  be  utilized 
for  their  good.  It  is  true  that  the 
dramatic  instinct  is  very  general.  .  .  . 
So  I  say  that  this  power  .  .  .  is  one 
that  ought  to  be  at  least  in  every 
school  in  this  country,  and  moreover 
I     believe     that    it    is    going     to     be. 


PREFACE 

The  one-act  plays  contained  in  this  volume  are 
designed  in  the  hope  of  filling  the  needs  of  public 
school  performances,  ethically,  dramatically,  and  edu- 
cationally. In  consequence  each  play  contains  a  dis- 
tinct lesson,  whether  of  courage,  gentle  manners,  or 
contentment.  The  settings  are  simple,  and  the  cos- 
tumes such  as  are  within  the  compass  of  the  school- 
room. Full  directions  for  costumes,  scene  setting,  and 
dramatic  action  are  given  with  each  play.  Several  of 
the  plays  are  especially  adapted  to  holiday  seasons  such 
as  Christmas,  Thanksgiving,  etc.,  and  all  of  them  have 
stood  the  test  of  actual  production — that  of  "  The 
House  of  the  Heart  "  was  given  by  the  New  York 
Educational  Theatre  for  Children  and  Young  People; 
those  written  for  the  out-of-doors  have  had  production 
in  various  parks  and  playgrounds;  and  the  rest  have 
been  acted  in  the  public  schools  and  social  settlements 
of  New  York  and  other  cities. 

Thanks  are  due  to  the  St.  Nicholas,  The  Woman's 
Home  Companion,  The  Delineator,  The  Housekeeper, 
The  Churchman,  The  Normal  Instructor,  and  Primary 
Plans  for  their  kind  permission  to  reprint  these  plays. 


CONTENTS 

PAGE 

The  House  of  the  Heart      ....         i 

The  Gooseherd  and  the  Goblin  . 

35 

The  Enchanted  Garden 

59 

Nimble-Wit  and  Fingerkin   . 

77 

A  Little  Pilgrim's  Progress 

.        IOI 

A  Pageant  of  Hours 

.     129 

On  Christmas  Eve     . 

143 

The  Elf  Child  . 

169 

The  Princess  and  the  Pixies 

.  187 

The  Christmas  Guest     . 

.  205 

SYNOPSIS 

The  House  of  the  Heart.     Morality  Play.     Suit- 
able for  any  season. 

The  Gooseherd  and  the  Goblin.     Comedy  suit- 
able for  June  exercises. 

The  Enchanted  Garden.     Flower  Play.     Suitable 
for  June  exercises. 

Nimble-Wit     and     Fingerkin.       Industrial    Play. 
Suitable  for  any  season. 

A    Little    Pilgrim's    Progress.      Morality    Play. 
Suitable  for  Thanksgiving. 

A  Pageant  of  Hours.     To  be  given  Out  of  Doors. 
Suitable  for  Summer. 

On  Christmas  Eve.     Suitable  for  Christmas  time. 

The  Elf  Child.     Suitable  for  any  season. 

The  Princess  and  the  Pixies.     Suitable  for  any 
season. 

The   Christmas   Guest.     Miracle    Play.     Suitable 
for  Christmas. 


THE  HOUSE  OF  THE  HEART 
A  Morality  Play 


CHARACTERS 

Child 

Wisdom 

Love 

Cheerfulness 

Industry 

Experience 

Lady  Gossip 

Laziness 

Vanity 

Grumble 

Dame  Quarrelsome 

Envy 


DRAMATIC    DIRECTIONS 

The  scene  is  in  the  House  of  the  Heart,  and  while 
ampler  directions  for  its  setting  follow,  the  schoolroom 
setting  of  it  may  be  arranged  very  simply  indeed. 

There  should  be  three  entrances,  one  at  left,  one  at 
right,  and  one  in  the  background.  These  can  easily  be 
arranged  with  screens  draped  with  cheesecloth — a 
draped  interioT  and  background  being  the  way  of 
setting  the  old  Morality  Plays,  as  all  teachers  familiar 
with  "  Everyman  "  will  remember.  Trie  draping  in 
this  case  should  be  of  scarlet — the  color. of  a  heart.  If 
scarlet  cannot  be  had,  white  may  be  used.inster.c.  If] 
this  case  a  large  red  heart  should  be  fastened  in  the 
draped  background  as  a  sign  that  it  is  the  House  of 
the  Heart.  If  the  window  called  for  in  the  directions 
is  not  feasible,  the  entrance  in  background  can  be  used 
instead.  Have  Cheerfulness  spring  through  it  instead 
of  through  the  window.  The  furniture  consists  of  a 
bench,  a  table,  and  several  chairs.  Also  a  pile  formed 
of  cushions,  preferably  crimson. 

For  the  schoolroom  costumes,  worn  over  the  every- 
day clothes  of  those  taking  part,  each  child  should  be 
provided  with  two  yards  and  a  half  of  either  cheese- 
cloth or  cambric.  For  the  girls'  costumes,  cut  out  a 
square  in  the  center  of  the  cheesecloth  and  slip  it  over 

3 


4  DRAMATIC  DIRECTIONS 

their  heads.  The  long,  straight  pieces  that  will  thus 
hang  back  and  front  will  be  exactly  the  lines  of  costume 
worn  in  the  seventeenth  century.  The  neck  can  be 
ornamented  with  lace  or  gold  embroidery.  For  the 
boys,  if  hose  and  doublet  cannot  be  had,  cheesecloth 
cut  in  the  same  fashion,  only  much  shorter,  coming 
above  the  knee  so  as  to  form  a  kind  of  tunic.  These 
tunics  should  be  belted  in  at  the  waist  with  loose 
girdles  of  leather  or  cord. 

The  Child  wears  pale  blue  cheesecloth;  Experience 
a  shepherd  costume — tunic  of  gray  cambric,  skins 
draped  across  the  shoulders,  a  leather  girdle,  and  shep- 
herd's staff  in  hand.  Vanity,  prettily  fTowered  cotton 
crepe,  with  blue  girdle  and  a  handsome  mantle.  Love, 
white  cambric  with  a  border  of  silver  paper  cut  out 
and  applied.  Lady  Gossip,  dark  green  cambric.  Dame 
Quarreisome)  slate-colored  cambric,  with  a  mantle 
much  torn  and  rent.  Envy,  vivid  green  cambric. 
Cheerfulness,  red  cambric ;  strings  of  gilt  bells.  Indus- 
try, deep  bright  blue  cambric. 

In  connection  with  the  play,  the  children  taking  part 
in  it  should  read  or  have  read  to  them  portions  oA 
"  Pilgrim's  Progress  "  and  "  Everyman." 


THE  PROLOGUE 

Spoken  by  Experience 

Gentles,  I  bid  you  all  give  ear 
Unto  the  play  that  follows  here. 
Within  a  Heart  the  scene  is  laid, 
Both  good  and  evil  will  be  played. 
Grumble  and  Gossip  you  shall  see, 
And  likewise  Love  and  Industry. 
Wisdom  appears  upon  the  stage 
With  gentle  counsels,  true  and  sage, 
While  Vanity  her  time  doth  pass 
By  gazing  on  her  looking  glass — 
Bedecked  with  gauds  and  jewels  rare, 
The  gems  she  purchased  at  the  Fair. 
Dame  Quarrelsome  you  shall  behold, 
And  hear  her  loudly  rage  and  scold; 
Laziness,   too,  who  yawns  away 
The  hours  of  every  precious  day, 
Avoiding  Difficulty's  Hill, 
Taking  Sloth's  wages  for  his  till. 
While  Cheerfulness  with  bells  so  sweet 
Runs  to  and  fro  on  nimble  feet. 
And,  lastly,  in  a  robe  of  green 
Jealous-eyed  Envy  will  be  seen. 
5 


THE  PROLOGUE 

The  Child  who  owns  this  Heart  doth  learn 

Which  ones  to  love  and  which  to  spurn. 

Full  hard  was  this  for  her  to  do 

As  we  will  straightway  show  to  you. 

I  am  Experience.     I  dwell 

In  mountains  called  Delectable, 

And  come  from  those  far  heights  to  pray 

A  gracious  hearing  for  our  play. 

So  to  the  scene  that  doth  commence 

Beseech  you  give  kind  audience! 


THE  HOUSE  OF  THE  HEART 

Scene:  The  House  of  the  Heart. 
Time:  The  latter  half  of  the  seventeenth  century. 

(1678-79) 

A  heart-shaped  room.  The  footlights,  if  possible,  set 
in  a  curve  to  add  to  its  semblance.  Scene  lit  by  red 
light  which  softens  and  gradually  fades  after  the  rise 
of  the  curtain.  The  walls  are  cream-color.  The  fur- 
niture, notably  a  table  and  several  chairs,  is  of  the 
style  of  the  seventeenth  century.  (Heavy  massive 
furniture  in  "  Mission  "  style  will  do.)  There  is  a 
carved  bench  against  the  wall  in  left  background,  and 
a  pile  of  dark  red  velvet  cushions  in  the  right  fore- 
ground. An  arras  by  the  right  wall.  Door  in  back- 
ground, center,  flanked  by  a  window  on  either  side. 

At  the  rise  of  the  curtain,  Wisdom  is  seated,  and 
appears  to  be  listening,  as  if  waiting  for  some  one.  The 
Child,  without,  knocks,  and  as  Wisdom  is  slow  to 
answer,  knocks  again,  and  then  opens  the  door. 

Wisdom 
(kindly). 
Enter,  my  child. 

7 


8  THE  HOUSE  OF  THE  HEART 

Child 

(zvonderingly). 
Knew  you  that  I  would  come? 

Wisdom 
(smiling). 
Aye,  for  this  house  was  meant  to  be  your  home. 

Child. 

(surprised). 
My  home? 

Wisdom. 

Yea,  yours.     Henceforward  from  to-day 
You  shall  reign  over  it  with  endless  sway! 

Child 
(interested). 
Nay,  but  what  house  is  this,  I  pray  you  tell? 

Wisdom. 

House  of  the  Heart  'tis  called.    Oh,  rule  it  well, 
For  on  your  ruling  hangs  your  weal  or  woe. 

Child 
(drawing  near  to  Wisdom). 
Your  name,  sweet  counselor,  I  fain  would  know. 

Wisdom. 
Wisdom,  my  child. 


THE  HOUSE  OF  THE  HEART  9 

Child 
(eagerly). 
And  have  we  met  before? 

Wisdom. 

Nay,  for  you  were  too  young  to  grasp  my  lore. 
I  waited  till  the  hour  when  you  should  turn 
Unto  your  Heart,  its  inmost  ways  to  learn; 
When  you  should  look  and  question  what  was  there, 
And  come  to  take  possession,  full  and  fair. 
Therefore  I  bode,  knowing  that  soon  or  late 
That  hour  must  strike,  for  little  folk  or  great! 
And  now — 'tis  here! 

Child. 

Then  pray  you,  of  your  grace, 
Read  me  the  meaning  of  this  strange,  new  place, 
Where  of  a  sudden  I  have  found  my  way. 

Wisdom. 

See  that  you  guard  it  wisely,  day  by  day. 
Greater  than  he  who  storms  a  city's  wall 
Is  he  who  holdeth  his  own  heart  in  thrall, 
Ruling  its  guests,  watching  its  portals  well — 
For  the  Heart,  Child,  is  like  a  citadel 
Beleagured  oft  by  foes,  within,  v.  ithout, 
That  your  own  watchfulness  must  put  to  rout. 
Will  you  remember? 


io  THE  HOUSE  OF  THE  HEART 

Child. 
Aye. 
Wisdom. 

To  make  or  mar 
This  Heart  is  yours.    Its  guardian  you  are. 
Look  to  it  well! 

Child. 
Beseech  you,  of  your  wit, 
Tell  me  how  best  to  govern  over  it ! 

Wisdom 

(indicating). 

See  the  door  rusts  not  on  its  hinges.    See 
That  on  your  hearthstone  burns  continually 
The  sacred  fire  of  hospitality; 
For  there  is  naught  so  cold  as  a  cold  heart. 

[Wisdom  turns  towards  the  door,  as  if  to  leave. 
The  Child  follows  with  outstretched  hands. 

Child. 

Oh,  tarry  here  a  space!     Why  should  we  part? 

Wisdom. 

So  you  shall  learn  to  rule  your  Heart  alone ! 

Child 

(wistfully). 

Alack!    What  shall  I  do  if  you  be  gone? 
I  shall  be  desolate! 


THE  HOUSE  OF  THE  HEART       H 

Wisdom. 

Nay,  Industry 
And  Love  and  Cheer  shall  keep  you  company! 

Child. 
At  that  I  do  rejoice! 

Wisdom. 

You  shall  decide 
Which  guests  shall  leave  your  Heart,  and  which  abide. 
Beware,  oh  Child,  what  guests  you  entertain, 
For  those  who  enter  here  bring  joy  or  pain. 
If  any  knock  who  have  no  right  to  stay,- 
Keep  the  door  shut,  and  send  them  on  their  way. 
Let  no  one  in  who  is  not  kind  and  true. 

Child 

(gravely). 
I  will  remember. 

Wisdom 

(going). 

Now  farewell  to  you, 
And  to  t  lis  Heart  which  I  leave  to  your  keeping. 

[Exit  Wisdom  through  door  in  background. 
The  Child  stands  watching,  as  if  looking 
far  up  the  road.  Love  and  Cheerfulness 
and  Industry  enter  from  behind  the  arras  at 


12  THE  HOUSE  OF  THE  HEART 

right.  As  the  Child  comes  down  center 
they  make  a  deep  obeisance  and  say  to- 
gether. 

Sweet  Child,  good  morrow,  and  a  kindly  greeting! 

Child 

(delightedly). 
Now  by  your  bells  you  Cheerfulness  must  be! 

Cheerfulness. 
Ready  to  help  you  at  your  need,  parde! 

Child 
(to  Love). 
And  you  are  none  but  Love! 

Love. 

And   I   will  give 
True  joyance  to  your  Heart  while  here  I  live! 

Child 
(to  Industry). 
And  you  are  Industry! 

Industry. 

'Tis  my  delight 
To  serve  you  faithfully,  by  day  or  night. 


THE  HOUSE  OF  THE  HEART       13 

Cheerfulness. 

While  round  your  neck  I  pray  you  let  there  shine 
Contentment's  jewel. 

[Fastens  it  on  chain  about  her  neck. 

Child. 
Grammercy,  friend  mine! 

Cheerfulness. 

A  frown  will  dim  its  luster,  or  a  tear, 

But  smile  and  laugh  and  it  will  aye  be  clear. 

It  will  reflect  the  radiance  of  your  face 

As  in  the  dew  the  sun's  bright  gleam  we  trace. 

Child 

(earnestly). 

Long  will  I  treasure  it,  and  guard  it  well. 
Right  glad  am  I  you  are  with  me  to  dwell! 

Love 
(smiling). 
No  heart  so  base  but  I  am  sometime  there! 

Industry. 
True  fealty  unto  this  your  house  I  swear! 

Cheerfulness. 

Leal,  too,  am  I.     Have  you  not  heard  folk  say 
"A  merry  heart  goes  far  into  the  day!  " 


14  THE  HOUSE  OF  THE  HEART 

Child. 
Hark!     Some  one  knocks! 

Lady  Gossip 
(without). 

I  pray  you,  let  me  in! 

Love 
(gravely) . 
Will  you  let  all  so  quick  an  entrance  win  ? 

Child 
(pauses,  then  returns,  pleadingly). 
Sure,  'tis  some  guest  I  have  not  seen  before! 

Love 
(warningly). 
Remember  Wisdom's  counsel!     Guard  the  door! 

[The  knocking  continues. 

Child 

(drawing   near  door  again). 
Who  is  it  waits? 

Lady  Gossip 
(without). 
I,  Gossip,  bringing  news. 


THE  HOUSE  OF  THE  HEART  15 

Child 

(who  has  looked  out  window,  and  then  gone  eagerly 
to  unlatch  door). 

'Tis  Lady  Gossip!     How  can  I  refuse! 
For  she  is  very  sweet,  and  very  fair. 

Love. 
Is  Gossip  sweet?     I  warn  you,  Child,  beware! 

[The  Child  opens  the  door.  Lady  Gossip 
enters,  gives  a  keen  glance  at  those  present, 
and  seeing  Love  and  Cheerfulness,  tosses 
her  head  and  moves  down  center  without 
any  exchange  of  greeting.  Love,  meantime, 
goes  toward  the  door.  The  Child,  seeing 
that  Love  is  about  to  depart,  leaves  Lady 
Gossip,  and  catches  at  Love's  sleeve  with  a 
detaining  hand. 

Child. 
Oh,  Love,  you  will  not  leave  me? 

Love. 

Even  so. 
If  Lady  Gossip  tarries  here,  I  go; 
For  I  may  not  keep  fellowship  with  guile. 

Child 
(irresolute). 

Nay,  but  how  soft  her  speech,  how  bright  her  smile! 
In  sooth,  her  chatter  casts  a  pleasing  spell! 


16  THE  HOUSE  OF  THE  HEART 

Lady  Gossip 
(catching  at  Child's  hand). 
Yea,  let  me  stay! 

[  The  Child  hesitates,  and  finally  goes  over  to 
Lady  Gossip. 

Love. 
F  faith  then,  fare-thee-well ! 
[Exit  Love.     Cheerfulness  also  starts  for  the 
door. 

Child. 

What!     Cheerfulness,  will  you  forsake  me,  too? 

Cheerfulness. 

If  Gossip  bides,  we  may  not  stay  with  you. 
Though  we  will  leave  your  heart,  we  will  be  near. 
Call  on  our  names  and  we  will  straightway  hear. 

[Exit  Cheerfulness.     Industry  starts  to  follow. 

Industry. 
Now  after  them  I  too  will  likewise  hie! 

[Exit  Industry. 
Child. 

Alack !     Bereft  of  service  now  am  I ! 

Lady  Gossip 
(reassuringly). 
Others  will  come! 


THE  HOUSE  OF  THE  HEART  n 

Laziness 
(popping  his  head  in  the  door). 

Do  you  a  servant  need? 

Child 

(turning). 

Now,  perad venture,  here  is  help  indeed! 

Your  name  is 

Laziness 

(entering  with  a  swagger). 

Laziness!     Sworn  comrade  I 
To  such  as  from  all  useful  labor  fly. 
For  Industry's  as  common  as  the  wind; 
But  such  a  one  as  I  you'll  seldom  find. 

Lady  Gossip 

(nodding) 
There  he  speaks  truth! 

Child 
(to  Laziness). 

And  have  you  served  before? 

Laziness. 

Yea,  Dame  Deceit  I  served  a  year  or  more. 
'Twas  she  who  taught  me  many  a  pleasing  grace. 
With  Mistress  Folly,  too,  I  bode  a  space, 


18  THE  HOUSE  OF  THE  HEART 

In  putting  off  a  task  from  day  to  day 

There's  none  can  match  me.     Prithee  bid  me  stay! 

Child 

(undecided). 
Your  raiment,  Laziness,  is  torn  and  rent. 

Laziness. 

'Faith,  that  may  be,  since  through  the  mire  I  went! 
For  as  I  journeyed,  straight  across  my  way 
The  darkling  Hill  of  Difficulty  lay. 
To  climb  its  rugged  summit  I  was  loth — 
I  chose  an  easier  path — the  Mire  of  Sloth. 
(cajolingly) 

'Twas  but  avoiding  Difficulty's  Hill 
That  made  my  tattered  doublet  look  so  ill! 

[Before  the  Child  can  decide,  Lady  Gossip,  who 
has  strolled  to  the  window,  announces 
another  guest.  Laziness,  taking  advantage 
of  this,  stays,  throws  himself  on  the  cushions, 
right  foreground,  and  dozes. 

Lady  Gossip. 
Another  guest  draws  nigh!  'Tis  Vanity, 
Clothed  like  the  rainbow,  and  as  fair  to  see. 

[Vanity  enters* 
Child 
(delighted). 
Sweet  Vanity,  will  you  not  linger  here? 


THE  HOUSE  OF  THE  HEART  19 

Vanity 
(advancing). 

Aye,  that  will  I  right  gladly.     Be  of  cheer! 
Good  morrow,  Lady  Gossip! 

Lady  Gossip 
(with  a  curtsey). 

Greetings,  friend! 
Vanity. 
(sweeping  her  robes  about). 

How  like  you  all  these  colors — do  they  blend  ? 
What  think  you  of  my  eyes,  my  lips,  my  hair? 
My  minor  tells  me  I  am  wondrous  fair ! 

[Gazes  into  mirror  which  she  wears  on  a  chain 
attached  to  her  girdle. 

What  news,  dear  Gossip  ? 

Lady  Gossip. 

All  the  world's  awry! 

(knowingly) 

Oh,  I  could  tell  you  tales  did  I  but  try — 
Of  Envy,  Grumble,  Quarrelsome,  and  those 
Whom  we  both  know — 

(whispers  to  Vanity) 

Such  news  I  could  disclose! 
Have  you  no  rumor  keen — my  ears  to  fill? 
No  secret  I  can  turn  to  others'  ill  ? 


20  THE  HOUSE  OF  THE  HEART 

Vanity. 

Nay,  none!     Of  learning  news  I  make  no  boast. 
It  is  my  mirror  that  enchants  me  most! 

[Holds  out  her  many  neck-chains  with  their 
brilliant  pendants,  looking  at  them  lovingly, 
one  by  one,  while  Lady  Gossip  and  the 
Child  stand  by,  admiringly. 

These  gauds  and  trinkets  that  I  greatly  prize 
Were  much  esteemed  by  Master  Worldly  Wise; 
While  that  old  wrinkled  beldame,  Mistress  Greed, 
Would  fain  have  bought  from  me  each  chain  and  bead. 

Child 
(her  interest  more  and  more  aroused). 
Where  did  you  hap  to-  meet  with  such  as  she  ? 

Vanity 

(pacing  slowly  to  and  fro,  glancing  now  at  her  robes, 
now  at  her  mirror). 

Why,  at  the  Fair — the  Fair  of  Vanity. 
'Tis  a  brave  place,  with  all  that  doth  most  please — 
Where  you  can  purchase  baubles  such  as  these, 
And  plumes  and  jewels  and  the  bright  attire 
That  Money-Love  and  Feeble-Mind  admire! 

[Vanity  goes  towards  the  background,  con- 
tinuing  to  gaze  at  her  own  splendid  raiment. 
Lady  Gossip  and  the  Child  remain  in  fore- 
ground, watching  her. 


THE  HOUSE  OF  THE  HEART  21 

Child. 

How  soft  her  robes  sweep  round  her,  fold  on  fold, 
And  see  her  necklace 

Lady  Gossip. 
(nodding). 
Of  the  purest  gold! 

Child 

(with  a  trace  of  envy  in  her  tone). 
Her  jeweled  bracelets 

Lady  Gossip. 

How  they  gleam  and  shine! 

Child 

(coveting). 

I  would  that  I  might  own  one  half  as  fine — 
For  she  has  all  there  is,  and  I  have  nought : 
My  robe  is  not  so  curiously  wrought, 
I  have  no  kirtle  of  embroidery  blue, 
Nor  mantle  made  of  such  a  splendid  hue — 

Lady  Gossip 
(deliberately  adding  to  the  ferment). 

Even  your  jewel  that  was  once  so  bright 
Begins  to  fade,  and  lose  its  lustrous  light. 

[A  step  in  the  doorway  without.     Vanity  turns. 


22  THE  HOUSE  OF  THE  HEART 

Vanity. 
Who  comes? 

Lady  Gossip. 
'Tis  Grumble  entering  the  door. 

Grumble 

(entering,  bent  and  crabbed). 

I  have  trudged  such  a  way  my  back  is  sore, 
And  every  bone  in  it  seems  like  to  break! 

Child 

(calling  as  she  assists  Grumble). 
A  footstool,  Laziness!     Awake!     Awake! 

[Laziness  continues  to  doze,  in  spite  of  her 
efforts  to  rouse  him.  Business  of  getting 
up,  rubbing  his  eyes,  and  dropping  to  sleep 
again.  The  Child  finally  fetches  the  foot- 
stool herself.  Gossip  and  Vanity  are  dis- 
cussing each  other  s  clothes  in  dumb-show. 
The  Child  has  meantime  assisted  Grumble 
to  a  chair. 

Grumble. 
Nay,  this  chair  likes  me  not.     'Tis  hard  and  plain. 

[He  goes  to  another  chair  on  the  right. 
This  one's  too  soft! 


THE  HOUSE  OF  THE  HEART  23 

Child. 
I  prithee,  try  again! 

Grumble. 

(going  to  another  chair). 

Slough  of  Despond,  whereby  I  rest  and  live, 
Has  far  more  comfort  than  your  house  can  give! 

Vanity. 
Nay,  'tis  a  mirey  spot,  full  dark  and  drear! 

Grumble 

(peevishly). 
Peace,  Vanity!     Your  voice  offends  my  ear! 

[He  goes  back  to  the  chair  he  first  occupied, 
and  after  a  moment  trembles  violently. 
I  shiver  here.     With  draughts  this  house  is  cursed ! 

[He  goes  to  another  seat. 
My  throat  is  parched.     I  am  consumed  with  thirst! 

Child. 

A  flagon,  Laziness!     Bestir  your  heels! 

[Laziness  does  not  move,  and  it  is  the  Child  a 
second  time  who  attends  to  Grumble's 
wants,  bringing  him  a  flagon  and  a  cup. 
As  she  kneels  by  him,  pouring  it  out,  he  un- 
clasps the  Jewel  of  Contentment  from  her 
neck. 


24  THE  HOUSE  OF  THE  HEART 

Grumble. 

The  choicest  jewel  falls  to  him  who  steals. 

[He  chuckles  evily,  and  after  holding  it  up  a 
moment  slips  it  into  a  leather  pouch  that  he 
wears  at  his  girdle.  The  Child,  all  un- 
conscious of  what  has  passed,  gives  him  the 
cup.     He  drinks. 

Child. 

Satisfied,  sir? 

Grumble 

(shaking  his  head). 

Nay! 

(leers  up  at  her) 

But  you  are,  I  trow? 

Child 

(looking  straight  before  her). 

An  hour  ago  I  was  full  blithe,  but  now 

I  know  not  how  it  is — I  fain  would  cry! 

Good  my  friend  Grumble,  can  you  tell  me  why? 

Grumble 

(giving  back  the  cup). 

I  tell  you?     Nay!  I  cannot  tell  you.     Lo, 
How  should  I  wot  the  cause  of  all  your  woe? 


THE  HOUSE  OF  THE  HEART  25 

Dame  Quarrelsome 

(shrilly,  without). 

What  ho,  within! 

[Pounds  on  door. 
Child 

(greatly  distressed). 

Have  others  hither  come? 

Lady  Gossip 
(looking  out  the  window). 
Now,  by  my  faith,  it  is  Dame  Quarrelsome! 

Laziness 

(awakening,  with  a  show  of  interest). 
Dame  Quarrelsome! 

Lady  Gossip. 

Yea,  you  shall  hear  full  soon 
Her  shrill-voiced  clamor,  morning,  night,  and  noon! 

Dame  Quarrelsome 

(entering,  shaking  her  fist). 

Have  done,  you  Gossip!  I'll  not  hear  a  word! 
I  thought  'twas  your  malicious  tongue  I  heard ! 
You   wry-faced   harpy 

[They  quarrel  in  dumb  show  at  the  left.  Lazi- 
ness, who  has  crossed  to  them,  stands,  hands 
on  knees,  regarding  them  delightedly,  turn- 


26       THE  HOUSE  OF  THE  HEART 

ing   first    to    one    and    then    to    the    other, 
Grumble  crosses  to  a  chair  at  right. 

Lady  Gossip 
(looking  out  the  window). 

And  I  do  perceive 
My  dear  friend  Envy! 

Envy 
(entering  door  boldly). 

Well  met,  by  your  leave! 

[To  Child. 
Coveting  County  is  my  rightful  home! 

Vanity 

(sneering). 

Pity  it  is  that  you  were  fain  to  roam! 

[Vanity  goes  toward  background. 

Envy 

(looking  after  Vanity  vengefully). 

Nay,  now  I  ask,  what  right  has  she  to  wear 

A  smock  so  splendid  and  a  kirtle  rare? 

Faith  would  I  rend  them  if  my  hands  could  reach 

Dame  Quarrelsome  • 
(at  other  side  of  room,  striking  Laziness). 
Mayhap  a  buffet  on  the  ear  shall  teach 
You  manners,  Master  Laziness,  anon! 


THE  HOUSE  OF  THE  HEART  27 

Child 
(center,  suddenly  discovering  the  loss  of  her  jewel). 
Alack!     My  jewel  of  Contentment's  gone! 
'Tis   stolen! 

Envy. 

Now  this  passes  all  belief! 

Dame  Quarrelsome 
(angrily  breaking  from  her  group). 
Which  of  us  all  will  you  dare  name  as  thief? 

Grumble 
(edging  near  to  Dame  Quarrelsome). 
Aye,  which? 

[A  moment's  silence  during  which  all  the  vices 
stand  in  defiant  attitudes. 

Child 

(turning  from  them  with  gesture  of  despair). 

I  know  not !     I  am  sore  beset ! 
Alas!     Alas!     How  soon  I  did  forget 
Wisdom's  true  counseling  to  guard  the  door! 
Would  I  had  harkened  me  to  Wisdom's  lore! 
Mayhap  I  am  too  late 

(with   clasped  hands). 

Oh,  Industry, 
And  Love  and  Cheer,  I  pray  you  come  to  me, 


28  THE  HOUSE  OF  THE  HEART 

And  dwell  with  me,  and  never  more  depart, 
And  be  the  guests  of  this,  my  troubled  Heart! 

Cheerfulness 
(without). 
Call  but  upon  our  names,  and  we  will  hear! 

Lady  Gossip 
(disturbed). 
Whose  voice  is  that? 

Grumble 
(trembling). 
Whose  bells  ring  soft  and  clear? 

Cheerfulness 
(springing  in  window  at  right). 
Out,  Lady  Gossip!    Grumble,  out  I  say! 

Lady  Gossip 
(hurrying  out). 
In  sooth,  I  will  leave  quickly! 

[Grumble  starts  to  follow. 

Cheerfulness 
(facing  him). 

Grumble,  stay! 

[Grumble  cowers. 


THE  HOUSE  OF  THE  HEART  29 

Return  what  you  have  stolen ! 

[Grumble  gives  up  jewel. 
Now  begone! 

[Exit  Grumble. 
Envy 

(frightened). 
And  as  for  me,  I,  too,  will  hasten  on! 

Laziness. 

Industry  comes!     Before  he  with  me  deals 
I  will  at  once  betake  me  to  my  heels! 

[Laziness   goes   out   the   door,   and  hove  and 
Industry  enter  it. 

Dame  Quarrelsome 
(in  a  panic,  to  Vanity). 

Fetch  me  my  mantle,  for  full  well  I  know 
That  now  that  Love  has  entered,  I  must  go! 

[Exit  Dame  Quarrelsome 

Vanity 

(approaching  Child  beguilingly). 

Nay,  let  me  tarry  here,  I  do  entreat, 

You  know  full  well  I  am  both  fair  and  sweet  1 

Love. 
Yea,  with  a  deadly  sweetness. 


30                  THE  HOUSE  OF  THE  HEART 

Vanity 

(to  Child,  with  a  beseeching  gesture). 

Of  your  grace 
I  pray  that  I  may  linger  here  a  space. 

Love 

(to  the  Child). 

Choose  you  between  us. 

Child 

(with  a  gesture  of  dismissal). 
Vanity,  depart! 

Vanity 

(with  an  angry  toss  of  the  head). 
Good  riddance,  then,  to  you,  and  to  your  Heart! 

[Exit  Vanity. 

Child. 

Sweet  guests,  that  spite  of  former  word  and  deed 

Still  came  to  help  me  in  my  utmost  need, 

Oh,  I  have  wisely  learned  to  guard  the  door 

So  no  dread  foes  may  ever  enter  more! 

That  in  my  Heart  eternally  may  be 

Love,  Wisdom,  Cheerfulness,  and  Industry! 

Curtain 


EPILOGUE 

Spoken  by  Experience 

Gentles,  ye  see  the  play  is  done, 
The  lights  are  out,  the  actors  gone; 
But  in  each  child  there  is  a  Heart 
Where  good  and  evil  play  their  part. 
Ye  have  learned  our  lessoning 
What  rancor  Quarrelsome  doth  bring. 
Grumble  and  Gossip  you  shall  spurn, 
From  Laziness  and  Envy  turn. 
But  Love  and  Cheerfulness  invite 
To  be  your  guests  and  bring  delight. 
Thus  shall  your  Heart  well  guarded  be! 
Here  endeth  our  Morality. 


3i 


COSTUMES 

Dresses  for  the  girls  should  be  gathered  from  a 
Dutch  neck,  and  fall  in  soft  straight  folds  to  the  floor, 
belted  in  by  a  silken  cord  or  chain  girdle.  Angel 
sleeves.  Quaint  caps  bordered  with  lace  or  gold. 
Headgear  shaped  like  a  coronet  may  also  be  worn. 
See  any  good  book  of  seventeenth  century  costumes. 

For  the  boys,  trim-fitting  doublets  and  hose  to  the 
knee.  Angel  sleeves  or  puffed  sleeves.  Girdles  of 
silken  cords  or  chains. 

INDIVIDUAL  COSTUMES 

Child:  Dress  of  pale  blue,  with  silver  girdle. 
Experience:  Tunic  of  pale  gray  cambric.     Leather 

girdle  and  pouch.     Skins  fastened  across  shoulders. 

Leather  sandals,   fastened  with  leather  strappings. 
Wisdom:  Purple  robe,  edged  with  ermine  at  sleeves 

and   neck.     Dull   gold   girdle. 
Love:  White  silken  robe.     Wreath  of  roses  on  hair. 

Golden  girdle. 
Lady  Gossip:  Very  dark  green  dress.     Angel  sleeves 

lined   with   pale   pink.     Peaked   cap   of   pink   and 

green. 
Vanity:  Handsome  dress  of  rich  brocade  in  colors  of 
32 


COSTUMES  33 

dull  blue  and  saffron.  Rich  blue  mantle  trimmed 
with  gold.  Golden  head-dress  from  which  floats 
a  veil  of  cloudy  white.  Where  her  angel  sleeves 
fall  back  from  the  arm  are  seen  many  bracelets. 
Her  fingers  sparkle  with  rings.  There  are  a 
number  of  chains  about  her  neck.  She  also  wears 
a  blue  girdle,  to  which  a  hand  mirror  is  attached 
by  a  long  chain  of  ribbon. 

Dame  Quarrelsome:  Slate-colored  dress.  Angel 
sleeves  lined  in  orange.  Black  cloak  in  rents  and 
tatters.  Black  velvet  cap  edged  with  lace,  and 
set  on  her  head  much  awry. 

Envy:  Vivid  green  dress,  the  neck  and  sleeves  of 
which   are   edged   with   gold    embroidery. 

Cheerfulness:  Crimson  suit,  hose,  and  cap,  with  a 
crimson  quill  stuck  jauntily  in  the  side.  Gold 
cord  at  waist.  Bells  with  a  sweet,  clear  tone,  are 
concealed  under  his  doublet.  They  ring  as  he 
moves. 

Industry:  Hose  and  doublet  of  deep  bright  blue. 
Angel  sleeves  lined  in  old  rose.  Old  rose  cord 
at  girdle. 

Grumble:  Black  suit  and  cap.  The  latter  goes 
down  at  each  side  like  ear  muffs.  His  body  is 
bent  and  young;  but  his  face  is  old  and  made  up 
with  wrinkles.     His  mouth  sags  complainingly. 

Laziness:  Brown  suit,  much  out  at  elbows.     Brown 
cap  with  bedraggled  black  quill.     Brown  cord  at 
waist. 
Each  of  the  dramatis  persona  should  act  in  char- 


34  COSTUMES 


acter.  Vanity  should  be  always  looking  in  her  mir- 
ror, or  toying  with  her  dress  and  headgear.  Cheer- 
fulness should  continually  skip  about,  blithely  and 
lightly.  Industry  carries  a  mop  broom,  and  should 
be  continually  busy.  Wisdom  should  be  stately. 
Laziness  ever  yawning  and  lounging,  etc.,  etc. 


THE   GOOSEHERD   AND   THE 
GOBLIN 

A  Play  in  One  Act 


Rain  bow- Wing    j 
Trip,  a  goblin 


CAST 

Conrad,  the  Gooseherd 
Dame  Alice,  Conrad's  mother 
Peterkin,  a  goblin 
Dawn-Delight 
Silverdew  dries 


V  Attendant  on  Peterkin 
Nip,  a  goblin       f 


DRAMATIC  DIRECTIONS 

The  play  is  one  for  early  Spring  or  Fall.  It  is 
designed  to  bring  into  the  schoolroom  a  breath  of  the 
great  out-doors.  The  scene  is  supposed  to  take  place 
in  the  Black  Forest.  Let  green  tree  branches  be 
drawn  on  the  blackboard  to  represent  tossing  boughs. 
Or,  if  the  season  be  either  Fall  or  Spring,  have  green 
branches  fastened  up,  and  a  few  leaves  scattered  on 
the  floor.  Even  leaves  of  green  paper  wired  to  bare 
branches  have  their  value,  and  take  from  the  deadly 
atmosphere  of  the  commonplace  which  clogs  so  many 
schoolroom  productions.  A  three-legged  stool,  cov- 
ered with  a  round  of  white  cardboard  about  a  foot 
and  a  half  across  makes  the  pinky-brown  toadstool. 
The  pink  and  brown  edges  are  painted  on  the  white 
cambric  that  covers  the  cardboard  toadstool-wise. 
See  that  it  is  all  firmly  fastened  together  and  in  no 
danger  of  slipping. 

The  everyday  clothes  of  the  children  will  only  need 
a  few  touches  to  convert  them  into  peasant  costumes. 
Conrad  should  wear  a  soft  dark  cap  with  a  long 
goose  feather.  Dame  Alice,  short  white  apron  to 
which  is  fastened  a  colored  border  and  pocket.  She 
also  wears  a  white  cap  of  either  tissue  paper  or  muslin. 
Dawn-Delight,  a  white  summer  dress  if  possible. 
37 


38  DRAMATIC  DIRECTIONS 

Pink  paper  crown  and  wand.  Silverdew,  white  or 
light-colored  dress,  silver  crown  and  wand.  Rainbow- 
Wing,  rainbow-colored  wand  and  crown.  All  three 
fairies  wear  cardboard  wings  fastened  to  their  shoul- 
ders. Those  of  Dawn-Delight  are  pale  pink;  those 
of  Silverdew  are  white  with  silver  dashes;  those  of 
Rainbow-Wing  suit  her  name.  Peterkin,  Nip,  and 
Trip  wear  peaked  caps  of  gray  tissue  paper. 

Conrad's  "  King's  Robe  "  is,  of  course,  some  older 
person's  cloak  or  cape,  to  which  is  basted  ermine  trim- 
ming made  of  white  cotton  batting  with  black  tails. 
When  he  is  the  miser,  he  wears  this  same  cloak  turned 
inside  out. 

The  play  is  also  suited  for  out-doors,  and  directions 
/or  such  a  production  follow.  The  teacher  should 
read  the  children  these  directions,  as  doing  so  will 
help  them  visualize  what  they  are  trying  to  portray. 

For  the  schoolroom  production  the  following  pro- 
logue should  be  spoken  by  one  of  the  children  not 
taking  part  in  the  play. 


PROLOGUE 

Friends,  we  present  a  simple  scene 
Enacted  in  a  forest  green. 
And  though  you  see  no  forest  here, 
And  though  no  birds  sing  sweet  and  clear, 
Let  but  your  fancy  hold  its  sway, 
And  we  will  take  you  far  away 
From  house  and  town  and  busy  mart 
Deep,  deep  into  a  forest's  heart. 
Think  you  that  at  my  feet  is  seen 
A  tapestry  of  grasses  green, 
And  that  on  either  hand  there  grow 
Tall  trees,  their  branches  bending  low; 
That  backward  stretches  the  great  wood — 
A  lovely,  fragrant  solitude 
Where  nimble  elves  and  fairies  dance, 
Hid  far  from  any  mortal  glance. 
Think  that  on  this  side  you  behold 
The  hut  that  shelters  from  the  cold 
Dame  Alice  and  her  only  child, 
Who  live  within  this  woodland  wild. 
Think  that  you  catch  the  smell  of  flowers, 
Of  grass  new-drenched  with  silver  showers, 
And  that  you  hear  the  soft  winds  stir 
Through  oak  and  pine  and  pointed  fir, 
39 


THE  PROLOGUE 

And  that  o'er  all,  serene  and  high, 
Stretches  the  blue  arch  of  the  sky. 
Think  but  of  this  and  you  shall  see 
A  little  Gooseherd's  Comedy. 


THE   GOOSEHERD   AND   THE 
GOBLIN 

The  play  is  designed  to  be  given  out  of  doors, 
though  an  indoor  production  is  perfectly  possible. 
The  following  directions  are,  however,  for  its  out- 
door production. 

The  scene  is  a  bit  of  woodland  sward,  with  grass, 
trees,  bushes  in  abundance. 

At  the  right  a  tiny  hut  built  of  branches.  Behind 
it  stretches  the  wood.  By  it  a  pile  of  branches  and 
fagots  that  have  the  appearance  of  being  lately 
gathered. 

At  the  left  another  edge  of  the  ivood.  A  wooded 
distance  in  the  background. 

The  center  of  the  stage  is  a  clear,  grassy  place,  free 
from  either  weeds  or  bushes.  The  play  begins  by 
Conrad's  mother,  an  oldish  peasant  woman,  coming 
out  of  the  woods,  left,  with  a  bundle  of  fagots  on  her 
back,  and  Conrad  following  her  and  taking  the  fagots 
from  her. 

Conrad. 

Let  me  carry  the  fagots,  mother.  I  am  stronger 
than  you. 

41 


42         THE  GOOSEHERD  AND  THE  GOBLIN 

Dame  Alice 

(turning). 

I  thought  it  was  3'our  step  I  heard  behind  me,  Con- 
rad. Take  the  fagots  if  you  will.  The  day  has  many 
hours,  and  I  am  weary.  (Sits  on  piled  fagots.) 
Where  have  you  been  since  morn? 

Conrad 

(disco  n  tentedly) . 

Ever  with  the  geese,  mother.  Ever  and  always 
with  the  geese !  They  are  splashing  yonder  now  in  the 
pond.  At  sunrise  I  took  them  to  the  top  of  the  hill 
where  I  could  see  the  towers  of  King  Hildebrande's 
castle  shining  in  the  sun,  and  later  I  led  them  to  the 
valley  where  I  could  spy  the  hut  of  Mertram  the 
Miser,  half  hidden  by  the  trees.  Is  it  true,  mother, 
that  old  Miser  Mertram  has  more  gold  than  the  King 
himself?     (Seats  himself  on  grass  by  Dame  Alice.) 

Dame  Alice. 

So  folks  say,  Conrad.  'Tis  hidden  safely  away 
somewhere  in  this  forest. 

Conrad. 

I  wish  I  were  Miser  Mertram.  You'd  never 
gather  fagots  again,  mother,  and  you'd  live  on  sweet- 
meats and  curds  instead  of  acorns  and  black  bread. 
And  as  for  me — this  would  be  the  last  day  I'd  ever 
tend  the  geese.     (He  rises.) 


THE  GOOSEHERD  AND  THE  GOBLIN         43 

Dame  Alice. 

If  wishes  came  true,  Conrad,  this  world  would  be 
a  topsy-turvy  place.  But  since  'tis  working  and  not 
wishing  that  makes  the  world  go  round,  'twere  well  I 
were  on  my  way  for  more  fagots,  lest  twilight  over- 
take me  in  the  wood.  (Rises.)  Look  to  it,  Conrad, 
that  you  tend  the  geese  while  I  am  gone,  and  fall  not 
to  complaining  and  dreaming  as  is  your  wont.  Com- 
plaint never  yet  healed  poverty,  and  (tenderly)  day- 
dreaming is  not  best  for  little  Gooseherds!  (She 
exits  into  wood  at  left.) 

Conrad 

(flinging  himself  on  grass,  center). 

Aye,  but  what  if  the  dream  came  true?  What  if  I 
should  wake  some  morning  and  find  myself  indeed  the 
Miser  Mertram,  with  all  his  gold  in  my  pockets. 
'Tis  said  that  the  goblins  and  fairies  have  power  to 
grant  any  wish  that  mortals  make!  (Dreamily.)  I 
would  it  pleased  them  to  grant  me  mine.  Oh,  if  a 
goblin  would  only  come  I'd  say:  "Good  goblin,  I  am 
tired  of  being  Conrad  the  Gooseherd !  Make  me  some 
one  else."  (Closes  his  eyes  for  a  moment,  as  if  to 
picture  such  bliss.) 

[During  the  last  sentence  Peterkin  has  entered 
from  the  wood,  at  right,  and  has  crept  up 
behind  Conrad  with  a  huge  toadstool,  upon 
which  he  perches  elfishly,  using  it  for  a  seat. 


44         THE  GOOSEHERD  AND  THE  GOBLIN 

Peterkin. 

A  foolish  wish,  Conrad,  more  worthy  of  your  geese 
than  of  you. 

Conrad 

(amazed,   sitting   up   and  staring,   and   then   rubbing 
his  eyes). 

Are  you  indeed  a  goblin? 

Peterkin 
(indignantly). 

Do  I  look  like  a  mortal?     Come,  blow  the  goose 

feathers  from  your  brain  and  stop  staring.  Although 

you've  never  seen  us,  you  must  have  heard  of  us  be- 
fore now,  fairies  and  goblins  both. 

Conrad 

(half -dream  ily) . 

Heard  you?  I've  sometimes  thought  I  did!  Some- 
times .  .  .  when  the  moon  comes  up,  round  and 
golden,  over  the  edge  of  the  dark  forest,  the  air  seems 
full  of  fairy  voices.  And  on  Winter  nights,  when  I'm 
half  asleep,  the  wind  makes  goblin  music  in  the  trees. 

Peterkin 
(nodding). 
You've  listened  better  than  I  thought. 


THE  GOOSEHERD  AND  THE  GOBLIN         45 
Conrad. 
But  I  did  not  know  that  fairyland  was  so  near. 

Peterkin. 
It's  always  near  to  them  that  seek  for  it,  Conrad. 

Conrad. 
And  will  you  truly  grant  my  wish  ? 

Peterkin 

(getting  off  toadstool). 

I  will  do  more  than  that!  I  will  give  you  three 
wishes  and  I  will  grant  them  all,  as  sure  as  my  name 
is  Peterkin! 

Conrad 

(dazzled). 

Three  wishes!  That  is  indeed  generous!  And 
shall  I  see  the  fairy- folk? 

Peterkin 

(naming  each  one  of  the  fairies,  as  they  advance  from 
the  wood  in  right  background). 

Aye,  that  you  shall.     See,  they  are  coming  hither! 
Dawn-Delight 

Dawn-Delight 

(with  a  pretty,  half-mocking  obeisance). 

From  the  gates  of  the  morning!  (Conrad  snatches 
off  his  cap  and  bows  low.) 


46         THE  GOOSEHERD  AND  THE  GOBLIN 

Peterkin. 
Silverdew 

SlLVERDEW 

(same). 
From  gossamer  palace! 

Peterkin. 
Rainbow-Wing 

Rainbow-Wing 
(same). 
From  the  mists  of  the  air! 

Peterkin 

(as  Nip  and  Trip  approach,  also  from  wood,  right 
background). 

And  Nip  and  Trip,  goblins  whose  law  is  my  word. 

Nip  and  Trip 
(speaking  together,  with  a  low  obeisance). 
Mortal,  what  is  your  will? 

Conrad. 

I  wish  to  be  Mertram  the  Miser,  for  he  has  more 
gold  than  any  one  else  in  the  world. 

[As  Conrad  speaks  he  stands  facing  the  audi- 
ence, with  his  back  to  the  fairy  footstool  on 


THE  GOOSEHERD  AND  THE  GOBLIN         47 

which  Peterkin  has  mounted.  Peterkin 
instantly  drops  across  Conrad's  shoulders  a 
long  tattered  cloak,  and  on  his  head  pops 
a  wig  of  gray,  bushy  hair.  These  things 
have  previously  been  brought  from  the 
wood  at  right,  by  Nip  and  Trip.  Silver- 
dew  waves  her  wand  three  times.  All  this 
should  be  done  with  the  utmost  grace  and 
swiftness.  The  moment  the  tattered  miser's 
cloak  falls  across  Conrad's  shoulders  he 
bends  double  with  a  rheumatic  groan. 

Peterkin. 

Your  wish  is  granted,  Conrad.     (They  dance  round 
Conrad  in  a  swirling  circle,  with  joined  hands.) 

Conrad 
(in  the  voice  of  querulous  age). 
Have  done  with  your  dancing!  (They  pause,  with 
mock  deference.)  I  can  scarcely  walk.  A  staff,  some 
one!  (Dawn-Delight  gives  him  a  gnarled  one.) 
Nay,  I  cannot  move!  I  must  sit  me  down.  Alack! 
Every  bone  in  my  body  has  a  pain  in  it,  and  every  pain 
a  tongue. 

Dawn-Delight. 

Nay,  look  how  bright  the  sun  is! 

Conrad 
(stretching  out  his  hand). 
It  cannot  warm  my  withered  flesh. 


48         THE  GOOSEHERD  AND  THE  GOBLIN 
Rainbow-Wing 
(looking  upward). 
And  how  bright  the  sky! 

Conrad 

(trying  to  look  up,  and  then  failing,  with  the  effect 
of  twisting  his  neck). 

What  is  that  to  me,  who  am  so  bent  I  cannot  see  it  ? 

Peterkin. 

And  your  work — there  are  no  more  geese  to  tend. 
All  your  days  are  free  to  spend  as  you  will. 

Conrad. 
Aye,  free  to  spend  in  groaning! 

Dawn-Delight. 

Acorns  and  black  bread  you  will  never  taste  again. 
The  finest  fruits  and  sweets  are  yours  for  the  asking. 

Conrad. 

Little   good   that  will   do  me  when   I   have  not  a 
tooth  in  my  head! 

[He  starts  to  cross  the  greensward,  leaning  on 
his  staff,  and  groaning  heavily. 

Peterkin. 
Think,  Conrad,  of  all  the  gold  you  possess! 


THE  GOOSEHERD  AND  THE  GOBLIN         49 

Conrad. 

What  is  that  compared  to  all  the  aches  I  possess, 
good  Peterkin?  Nay,  I  see  now  that  with  Miser 
Mertram's  gold  go  also  Miser  Mertram's  age  and 
pain!  For  every  piece  of  money  in  my  wallet  there 
is  a  twinge  in  my  back.  Pray  you,  give  me  my  second 
wish,  good  Peterkin,  and  you  will  see  how  wisely  I 
shall  choose  a  second  time. 

Peterkin. 

What  would  you  now,  Conrad? 

Conrad 

(standing  in  front  of  toadstool,  and  facing  audience 
as  before). 

I  would  be  young  King  Hildebrande  who  is  the 
same  age  as  myself,  and  who  has  gold  and  happiness 
and  power  besides. 

[Peterkin  whisks  off  Conrad's  miser  s  wig  and 
cloak,  and  drops  in  their  place  a  purple 
robe  and  a  gold  crown,  with  a  dark  curly 
wig  beneath  it.  Nip  and  Trip  carry  off 
Miser  s  costume  to  wood.  With  the  falling 
of  the  King's  robe  on  his  shoulders,  Conrad 
gives  himself  most  princely  airs. 

Conrad. 

Was  there  ever  so  grand  a  robe?  Or  so  glittering 
a  crown?  My  very  geese  would  not  know  me!  I 
will  look  at  my  reflection  in  the  pond.  (Turns.) 


50         THE  GOOSEHERD  AND  THE  GOBLIN 

Dawn-Delight 

(stopping   him). 

Nay,  gently,  Conrad!  Kings  do  not  use  a  common 
goose-pond  for  a  mirror. 

Conrad. 

Then  I  will  run  to  Nathan,  the  woodcutter's,  that 
all  may  see  me,  Nathan  and  Gretchen,  and  the  rest. 
(Picks  up  his  trailing  robe,  preparing  to  run  with  it.) 

Rainbow-Wing. 

Kings  do  not  run,  Conrad.  Neither  do  they  mingle 
with  woodcutter's  folk  and  call  them  by  their  names. 

Conrad 

(sulkily). 

'Faith,  'tis  a  wearisome  thing  to  be  a  King,  if  I 
cannot  do  as  I  please!  (Wearily.)  And  my  crown 
is  passing  heavy! 

Peterkin. 

Crowns  never  yet  were  light  to  wear,  your  Majesty. 

Conrad. 

Is  there  nought  I  can  do  for  pleasure?  Have  I 
no  subjects  to  cheer  me  and  cry:  "  Long  live  the 
King!  "?  Are  there  no  folk  within  this  wood  to  give 
me  greeting? 


THE  GOOSEHERD  AND  THE  GOBLIN         51 

SlLVERDEW 

There  are  the  peasants,  your  Majesty.  Yonder 
comes  one  now — a  woman  carrying  fagots. 

[Dame  Alice  enters  from  the  wood,  left. 

Conrad 

(turning). 

Woman!  Why,  'tis  my  mother!  (Goes  to  meet 
her,  Nip  and  Trip  holding  up  his  trailing  robe  as  if 
they  were  his  pages.) 

Dame  Alice 

(dropping  her  fagots  in  amazement). 

Just  Heaven!  It  is  his  gracious  Majesty!  (She 
makes  a  deep  and  humble  curtsey.) 

Conrad 
(delighted). 
Look  up  and  see!     Do  you  not  know  me,  mother? 

Dame  Alice 
(looking  up  and  then   bowing  still  lower). 

I  would  know  my  liege  sovereign,  King  Hilde- 
brande,  anywhere. 

Conrad. 

But  'tis  Conrad,  not  Hildebrande,  that  stands  be- 
fore you. 


52         THE  GOOSEHERD  AND  THE  GOBLIN 
Dame  Alice 
(aside). 
Alas !     I  see  the  poor  young  King  hath  lost  his  wits. 

Conrad 
(earnestly). 
But  mother,  I  am  your  son. 

Dame  Alice. 

Nay,  your  good  Majesty,  you  were  never  son  of 
mine,  as  these  people  of  your  court  will  tell  you;  so 
drive  these  shadows  from  your  mind  I  do  beseech  you. 
My  son  is  but  a  simple  little  gooseherd,  and  tends  the 
geese  at  the  wood  pond  yonder.  Indeed,  indeed  your 
Majesty  is  no  son  of  mine.  I  am  only  a  peasant 
woman  and  unused  to  the  ways  of  court. 

Conrad. 
Who  is  my  mother  if  you  be  not  she? 

Dame  Alice. 

All  the  world  knows  that  Queen  Clotilde  is  your 
Majesty's  mother,  oh  sire. 

Conrad 

(clutching  at  her  with  a  cry   of  sudden   terror). 

Nay,  look  at  me!  Look  close!  Look  close  and 
see   if   I   be   not   your   Conrad!     (She   looks   a  long 


THE  GOOSEHERD  AND  THE  GOBLIN         53 

moment,  and  then  sorrowfully  shakes  her  head,  as  if  in 
pity  for  his  crazed  wits.  Conrad  steps  back,  mute  and 
dismayed.) 

Dame  Alice. 

Have  I  your  Majesty's  permission  to  depart?  There 
are  still  many  fagots  to  be  gathered  and  nightfall 
comes  quickly.  (Conrad  makes  a  royal  gesture  of  as- 
sent, and  Dame  Alice,  after  bowing,  goes  slowly  back 
into  wood,  left,  Conrad  gazing  after  her.) 

Dawn-Delight 

(approaching  him). 

Whither  now,  King  Hildebrande?  'Twill  soon  bt 
Jusk,  and  the  queen,  your  mother,  waits  you. 

Conrad. 

Nay,  I  have  no  mother  but  one,  although  she  doe* 
not  know  me. 

SlLVERDEW. 

There  is  a  luscious  feast  spread  for  you  at  the 
castle,  Conrad. 

Conrad. 
'Tis  not  so  sweet  as  my  mother's  kiss. 

Rainbow-Wing. 

There's  music  there,  Conrad,  as  soft  as  the  music  in 
dreams. 


54         THE  GOOSEHERD  AND  THE  GOBLIN 
Conrad 
(passionately). 
'Twill  not  sound  half  so  tender  as  my  mother's  voice. 

Peterkin. 

There  will  be  jeweled  lamps  shining  to  light  you 
to  bed,  Conrad. 

Conrad 

(still  more  passionately). 

I'd  rather  have  the  loveshine  of  my  mother's  eyes. 
What  are  feasts  and  music  and  jeweled  lamps  to  me? 
(Despairingly.)  I  want  my  mother,  and  I  only  wish  to 
be  Conrad  the  Gooseherd,  Conrad  the  Gooseherd,  Con- 
rad the  Gooseherd!  (Flings  himself  sobbing  on  the 
ground.  His  cloak,  which  has  become  unfastened,  is 
swiftly-  removed  by  Nip  and  Trip.  His  crown  and 
scepter  are  likewise  taken.  His  closed  eyes  and  deep 
breathing  show  that  he  has  sobbed  himself  to  sleep.) 

SlLVERDEW 

(bending  over  him  with  passes  of  her  wand). 

Sleep!     And  let  these  wishes  seem 
Like  the  semblance  of  a  dream 
Lightly   dreamed   and   lightly  sped, 
Leaving  with  you  in  its  stead 
Sweet  Content,  your  days  to  fill. 
Sleep!     It  is  the  fairies  will! 


THE  GOOSEHERD  AND  THE  GOBLIN         55 

[Fairies  and  Goblins  vanish  into  wood,  back- 
ground. Enter  Dame  Alice  from  left;  she 
bends   over   the  sleeping   Conrad. 

Dame  Alice 
(rousing  him). 
Why,  Conrad !     Asleep  so  early  ? 

Conrad 

(opening  his  eyes  and  then  flinging  an  arm  about  her). 

Mother!     You  know  me  now?     Now  that  I'm  not 
the  King? 

Dame  Alice 

(rising). 

The  King!     Good  lack!     The  child's  still  dream- 
ing! 

Conrad 

(rising,  rubbing  his  eyes  and  looking  about). 

And  they're  gone,  too,  the  fairies  and  the  goblins. 
And  I'm  here  with  you  and  not  at  the  castle!  And 
ny>  three  wishes  have  vanished  like  smoke!  (Dame 
Alice  goes  to  hut  at  right.)  It  must  have  been  a 
dream.  And  yet  .  .  .  and  yet  ...  !  To  be  my- 
self and  none  other;  to  make  the  most  of  what  I  have 
and  never  sigh  for  what  I  have  not — that  is  fairy  wis- 
dom.    And  right  glad  am  I  that  I  am  neither  Miser 


56         THE  GOOSEHERD  AND  THE  GOBLIN 

Mertram  with  his  creaking  joints,  nor  King  Hilde- 
brande  with  his  queen  mother  but  only  Conrad  the 
Gooseherd.  And  now  I  think  'tis  time  I  fetched  the 
geese!     (Exits,  running  blithely,  left.) 


CWTAltf 


COSTUMES 

Conrad:  Buff  coat  and  hose.  Leather  belt  at  waist 
with  leather  jerkin  fastened  to  it.  Round,  soft 
cap  of  felt  pushed  far  back  on  his  head.  In  it  is 
stuck  jauntily  a  long,  white  goose  feather. 

Dame  Alice:  Dark  maroon  skirt.  Black  bodice  laced 
over  white  chemizette.  White  apron,  clean,  but  a 
little  worn  and  tattered,  it  has  a  border  of  maroon. 
A  white  Normandy  peasant  cap. 

Peterkix  is  swathed  from  head  to  heel  in  tight  fitting 
goblin  suit  of  mouse  color.  Peaked  cap  of  same, 
very  tall. 

Dawn-Delight:  Gauzy  pale  pink  robe.  Wings  deep- 
ening from  pale  pink  at  the  shoulder  to  deep  pink 
at  the  outer  edges. 

Silverdew:  White  gauzy  robe  spangled  with  silver. 
Silver  spangled  wings. 

Rainbow-Wing:  Gauzy  robe  of  palest  forget-me-not 
blue.  Rainbow-colored  wings,  very  delicately 
tinted. 

Nip  and  Trip:   Suits  exactly  like  that  of  Peterkin, 
only  in  brown. 
The   mushroom   which   Peterkin   carries   should   be 

made  stoutly  of  wood,  and  then  be  covered  with  white 

cambric,  tinted  around  the  edges  with  mushroom  color 

— the  peculiar  pinky  brown.     The  sides  may  slope  a 

little,  but  the  top  must  be  level. 
57 


THE  ENCHANTED  GARDEN 


CAST 


Wild  Rose 

Prince  Butterfly 

Bumble  Bee 

Peas  Blossom 

Lily 

Mignonette 

Poppy 

Iris 

WlLL-O'-TH  E-WlSP 

The  Queen  of  Hearts 

Other  Peasblossoms, 

Poppies,  etc. 

DRAMATIC  DIRECTIONS 

This  is  a  June  play.  The  schoolroom  should  he 
hung  with  green  leaves  or  real  or  artificial  flowers.  A 
green  floor  covering,  if  possible.  In  the  center  of  the 
stage  there  should  be  a  seat  or  throne  covered  with 
moss-green  cambric.  While  the  prologue  is  being 
spoken  the  flowers  stand  in  group  in  background.  The 
blinds  of  the  schoolroom  are  pulled  down  to  give  an 
effect  of  darkness.  With  the  end  of  Will-o'-the- 
Wisp's  speech  the  blinds  are  raised  to  show  that  the 
night  is  over  and  it  is  morning  in  the  garden.  The 
children  should  wear  their  summer  dresses,  and  over 
them  large  petals  of  tissue  paper  or  glazed  cambric. 
Hats  shaped  like  the  petals  or  bells  of  flowers.  White 
dress  with  red  hearts  on  it  for  the  Queen;  pink  hat 
and  dress  for  Wild  Rose;  stripes  of  yellow  tissue 
paper  basted  to  the  boy's  suit  of  the  bee;  large  tinted 
cardboard  wings  for  the  butterfly,  etc.,  etc.  The  pro- 
logue is  spoken  by  Pansy,  whose  dress  should  be  yellow 
and  purple  cambric,  or  tissue  paper  leaves,  like  an  over- 
skirt.  In  connection  with  the  play  read  the  children 
all  kinds  of  pretty  garden  verses — "  A  Garden  is  a 
Lovesome  Thing,"  by  Thomas  Brown,  etc.,  etc. 

The  play  is  especially  suited  to  be  given  out  doors  at 
the  closing  exercises  of  a  country  school,  or  a  woodland 
or  garden  entertainment.  For  this  fuller  directions 
follow. 

61 


PROLOGUE 

Spoken   by  Pansy 

My  name  is  Pansy,  and  my  part 
Is  to  enchain  each  mind  and  heart 
Until,  perforce,  you  see  with  me 
A  garden,  loved  of  bird  and  bee, 
Where  stately  lilies  raise  their  heads, 
And  poppies  border  all  the  beds; 
Where  starry  mignonette  is  found, 
And  moss  and  grass  and  dew  abound. 
Think  that  before  your  mind's  clear  eyes 
The  garden  dark  and  silent  lies 
Till  you  behold  a  curious  light 
Dancing  and  wav'ring  through  the  night. 
Will-o'-the-Wisp  is  drawing  near! 
His  step  so  soft  you  scarce  can  hear! 
And  thus,  before  the  break  of  day, 
He  will  begin  our  little  play. 


62 


THE  ENCHANTED  GARDEN 

The  scene  is  a  garden,  preferably  a  real  one.  If 
this  is  not  possible  and  the  play  is  wished  for  Winter 
use,  it  can  be  given  indoors.  In  this  case  the  stage 
should  be  covered  with  green  baize  and  green  potted 
plants  such  as  ferns  and  palms  can  be  used  effectively. 

It  is  supposed  to  be  night  when  the  play  begins.  The 
poppies  stand  in  the  background  on  each  side  of  a 
throne  covered  with  green  moss. 

In  the  center  of  the  stage  stands  Will-o'-the-Wisp 
with  his  lighted  lantern.  As  he  speaks  he  sways  his 
lantern  to  and  fro  in  the  darkness. 

WlLL-O'-THE-WlSP. 

Hush!     The  flowers  are  sleeping!     See  them,  one  and 

all, 
Mignonette  and  Iris  and  the  Lily  tall, 
Drowsy  crimson  poppies  nodding  by  the  wall. 

When  the  dew  is  falling  through  the  summer  night 
tiither  do  I  wander  with  my  lantern  bright, 
Guarding  all  the  sleepers  by  its  elfin  light. 

I  can  feel  the  night  wind  softly  passing  by, 
Hear  the  crickets  chirping  and  the  gray  owl's  cry, 
Watch  the  pale  moon  gliding  through  the  cloudy  sky; 
63 


04  THE  ENCHANTED  GARDEN 

I  am  free  to  wander  where  the  fairies  play, 
Through  the  fens  and  gardens  nimbly  do  I  stray, 
But  I  always  vanish  with  the  break  of  day! 

[Exit  Will-o-the-Wisp.  As  he  goes  the  dawn 
breaks,  a  rosy  glow  over  all  the  garden. 
The  flowers  slowly  raise  their  heads. 

Mignonette. 

Awak'en !     Awaken !     For  lo,  'tis  the  dawn ! 
Night  time  is  over 

Poppy 
(stretching). 

I  feel  I  must  yawn! 

Mignonette. 

Oh,  all  things  are  stirring — the  air  blows  so  sweet! 
'Tis  only  the  garden  that's  still  fast  asleep — 
The  Poppies  so  drowsily  nodding  their  heads, 
The  Sweet  Peas  in  nightcaps  asleep  in  their  beds! 
So  while  through  the  stillness  clear  bird  voices  break, 
Come,  let's  show  the  world  that  we,  too,  are  awake ! 

[The  flowers  join  in  a  slow  dance,  minuet-like 
in  its  dignity,  and  resembling  the  swayng  of 
flowers  in  the  breeze.  When  they  return 
to  their  places  Wild  Rose  is  discovered  in 
the  center  of  the  stage,  looking  timidly 
about  her. 


THE  ENCHANTED  GARDEN  65 

Lily. 
Mignonette,  pray  you  look!     A  new  flower  is  here! 

Mignonette. 
She  doesn't  belong  to  the  garden,  that's  clear! 

Poppy. 
A  very  great  liberty  for  her  to  take! 

Wild  Rose. 

I'm  just  a  Wild  Rose — I  strayed  in  by  mistake 

Last  night — in  the  dark.     Oh,  pray  don't  think  me 

bold, 
For  garden's  are  very  exclusive  I'm  told! 

[While  Wild  Rose  is  speaking  the  other 
flowers  whisper  together,  ivith  many  dis- 
paraging glances  and  much  shaking  of  heads. 

Iris 

(haughtily). 

The  flowers  who   grow  here  are  flowers  every  one 

knows, 
But  none  of  them  ever  have  heard  of  a  Rose! 

Sweet  Pea. 
You  say  you're  a  Wild  Rose;  but  how  do  we  know! 

Lily 
And  where  do  you  live? 


66  THE  ENCHANTED  GARDEN 

Wild  Rose. 

Why,  by  roadways  I  grow! 

Lily. 

By  roadways,  where  every  one  sees  you !    Dear !    Dear ! 
There's  little  seclusion  in  that  life  I  fear! 

Poppy. 
And  who  are  your  gardeners  ? 

Wild  Rose. 

The  sun  and  the  rain. 

Sweet  Pea 
(to  Poppy). 
My  dear,  she  knows  little  of  pruning,  'tis  plain! 

Wild  Rose. 

Yet  all  flowers  are  related — a  cousin  am  I 
To  fair  Mistress  Lily  who's  standing  close  by. 

Lily 

(haughtily). 

A  mere  country  cousin!     Pray  stay  in  your  place! 
Field  families  always  are  held  in  disgrace. 

(shortly  and  snappily) 
Not  even  mentioned — so  lowly  they're  rated. 
You  grow  near  a  road.     You're  not  cultivated. 


THE  ENCHANTED  GARDEN        67 

Wild  Rose 

(gently). 

I  never  have  lived  behind  walls,  it  is  true; 

Yet  we  share,  do  we  not,  the  wind  and  the  dew? 

Lily 
(aside  to  Sweet  Pea). 
The  Wild  Rose  has  thorns ! 

Iris. 

She  is  not  very  tall. 
Her  outlook  on  life  must  be  lowly  and  small. 

Mignonette. 

Pray,  who  are  your  friends? 

Wild  Rose 

(brightening). 

The  staunch  Blackberry  Vim. 
And  Blue  Bell  and  Daisy  and  sweet  Columbine. 

Poppy. 

Sweet  "Columbine"!  "Blue  Bell"!     What  strange 

names  are  these! 
"Blackberry"  and  "Daisy"!    Do  listen,  Sweet  Peasl 

Iris 

(with  aloofness). 
The  country's  a  very  strange  place,  I  am  told. 


68  THE  ENCHANTED  GARDEN 

Wild  Rose 

(eagerly). 

The  meadows  are  starred  with  the  Buttercups  gold, 
The  bee  hovers  and  hums — the  Bobolink  sings, 
The  Swallow  flies  by  with  a  glad  rush  of  wings — 
The  fields  stretch  away  to  clap  hands  with  the  sky — 

And 

Lily 

(tartly). 

There!     Hush    your    chatter!     Here's    Prince 
Butterfly. 

[Prince  Butterfly  enters. 

Mignonette. 
Good  morning,  dear  Prince! 

Prince  Butterfly 

(flitting  from  one  flower  to  another,  teasingly). 

Ah,  most  rare  Mignonette, 

The  loveliest  flower  in  the  garden !  And  yet 

The  Iris  is  fairer.     (Goes  to  Iris.)  Ah,  pretty  Sweet 

Pea, 

Pink  sunbonnets  still  are  in  fashion,  I  see! 

Sweet  Pea 
(flattered). 
Do  tell  us  the  news.  Prince! 


THE  ENCHANTED  GARDEN  69 

Prince  Butterfly 

(as  flowers  crowd  about  him,  with  the  exception  of 

Wild  Rose,  whom   he  has  not  perceived, 

and  who   stands   by   herself). 

What!     Have  you  not  heard? 
I  thought  it  might  come  by  some  gossipy  bird ! 
Well,  my  news  then  is  this :  the  great  Queen  of  Hearts 
Will  leave  for  one  morning  her  baking  of  tarts 
To  choose  from  this  garden  the  loveliest  flower. 

Poppy 
(smoothing  her  dress). 
My  petals  are  charming! 

Lily 
(anxiously). 

I  hope  it  won't  shower! 

Sweet  Pea 

(fastening  her  sunbonnet). 

And  no  one  can  tell  which  bright  flower  she'll  like 
best 

Mignonette 

(airily). 

I'm  sure  I'm  the  sweetest! 


70  THE  ENCHANTED  GARDEN 

Iris 
(regally). 

And  I'm  the  best  dressed ! 
[The  Flowers  return  to  their  places.     Prince 
Butterfly  suddenly  perceives  Wild  Rose. 

Prince  Butterfly. 
By  my  wings!     Who  is  this? 

Iris. 

'Tis  only  a  weed 
Who  came  from  the  country. 

Prince  Butterfly 

(pausing  by  Wild  Rose). 

A  strange  weed,  indeed! 
None  other  than  Wild  Rose,  than  whom  I  declare 
There  is  not  a  flower  in  the  garden  more  fair! 

Poppy. 
Dear  Prince,  you  are  hasty — pray  don't  be  beguiled ! 

Iris. 
She  says  she's  well-born ;  but  we  know  she  grows  wild. 

Prince  Butterfly 

(wheeling  suddenly,  his  light  manner  gone,  his  voice 

filled  with  indignation). 
And  wild  were  you  once,  ere  the  garden  you  knew4 


THE  ENCHANTED  GARDEN  n 

So  be  not  so  proud  of  your  bearing  and  hue!     (Iris 
hides  face.) 

(cuttingly,  to  Lily) 

Wild  Lilies  grow  tall  in  the  marsh  and  the  sedge! 

(to  Poppy) 
Yowr  family  comes  from  a  wheat  field's  bright  edge! 

(to  Mignonette) 
The  stars  and  the  tufts  that  so  proudly  you  wear 
Are  gems  which  the  Rocket  Weed  family  share! 

(to   Sweet  Pea) 
Where  sunshine  lies  warmest  and  salt  breezes  blow. 
On  meadow  and  dune  do  your  relatives  grow! 

(To  Wild  Rose,  bowing  low.) 
While  you,  sweetest  Rose  (with  your  petals  unfurled!) 
Are  sought  for  and  loved  throughout  all  of  the  world 
In  hut  or  in  palace.     This  garden  seemed  bare 
Till  chance  brought  you  to  us,  to  grace  it,  most  fair! 
[The  flowers  stand  with  hanging  heads,  utterly 
abashed,   unable   to   look    up.      Two   short 
blasts  of  a  herald's  trumpet  are  sounded  off 
stage,  and  Bumble  Bee  enters,  going  fussily 
about,  not  noticing  what  has  taken  place. 

Bumble  Bee. 

Here  I  come  humming — the  velvet  Bee! 
Busy  as  ever  you  plainly  see! 


72  THE  ENCHANTED  GARDEN 

Green  Mignonette,  and  gay  Lily  Bell, 
Which  of  you  all  has  honey  to  sell? 
For  here  am  I  with  my  sacks  to  hold 
All  you  can  give  me  of  pollen  gold. 
Butterfly  loves  to  dally  and  shirk, 
But  as  for  me — I  delight  in  work 

[Queen  of  Hearts  appears  in  background.  Bee 
perceives  her,  and  instantly  holds  himself 
erect  as  a  herald,  and  comes  down  center  to 
front  of  stage. 

Hark!     With  my  droning  trumpet  I  boom: 
"The  Queen  is  coming!     Give  room!     Give  room!" 
Down  through  your  borders  a  pathway  make, 
For  one  of  the  flowers  the  Queen  will  take! 

[Queen  of  Hearts  comes  down  center. 

Queen. 

I'm  weary  of  Lilies,  I'm  tired  of  Sweet  Peas — 
Mignonette  and  gay  Poppies — all  fail  to  please. 
But  here  is  a  Wild  Rose — with  petals  of  pink — 

Wild  Rose 
(very  much  confused). 

I  came  in  by  mistake 

Queen 
(kindly). 

No  great  harm,  I  think! 
You  speak  of  the  country — of  long  summer  hours, 
Of  dew  and  of  sunshine,  of  shadows  and  showers. 


THE  ENCHANTED  GARDEN  73 

Bumble  Bee. 
So  honey-sweet,  she,  I  can  scarce  keep  away! 

Prince  Butterfly. 

I  have  heard  Will-o'-the-Wisp  and  fairy  folk  say 
That  when  a  Wild  Rose  doth  her  petals  unfold 
'Tis  plain  to  be  seen  that  her  heart  is  of  gold! 

Queen. 

Enough!  then  no  longer  I'll  go  on  my  quest, 
For  this  is  the  flower  that  I  choose  from  the  rest. 
My  garden  without  her  would  not  be  complete. 

Prince  Butterfly 
(delighted). 
I  vow  she  is  charming ! 

Bumble  Bee 
(sturdily). 
I  swear  she  is  sweet! 

Queen. 

No  Rose  in  my  garden  has  ever  yet  grown, 
So  this  is  the  flower  that  I  choose  for  my  own. 

(To  Prince  Butterfly  and  Bumble  Bee.) 

As  she  was  content  common  roadways  to  grace 
Now  deck  her  with  dew-pearls  and  gossamer  lace. 


74        THE  ENCHANTED  GARDEN 

(to   Wild  Rose) 

Grow  queenly  and  splendid;  for  every  one  knows 
No  garden  is  perfect  that  boasts  not  a  Rose ! 

[Wild  Rose  bows  low  and  kisses  the  Queen \ 
hand.  Bumble  Bee  picks  up  the  Queen  s 
train,  like  a  page.  Butterfly  holds  her  fan. 
The  Queen  leads  Wild  Rose  to  the  mossy 
throne  in  background.  Bumble  Bee  and 
Prince  Butterfly  stand  on  each  side  of  the 
throne  while  the  Queen  crowns  Wild  Rose 
with  a  splendid  wreath  of  laurel.  Then 
Exit  the  Queen,  with  Prince  Butterfly  and 
Bumble  Bee  attending  her. 

Iris 
(penitently). 
I  fear  my  fine  raiment  has  rendered  me  blind! 

Mignonette. 
A  garden  may  often  be  narrow,  I  find. 

Lily. 

While  a  tall  wall  that  hides  all  the  world  from  ou* 

view 
Is  not  half  so  fine  as  horizons  wide  blue! 

All  the  Flowers  in  Unison. 
Forgive  us,  oh  Wild  Rose! 


THE  ENCHANTED  GARDEN  75 

Wild  Rose 

(rising,  standing  on  steps  of  mossy  throne,  and  speak- 
ing very  clearly  and  sweetly). 

Nay,  what's  to  forgive! 
The  past  is  forgotten.     In  peace  let  us  live, 
Content  without  envy  or  rancor  to  grow — 
For  all  of  us  started  in  Eden,  you  know! 


Curtain 


COSTUMES 

Wild  Rose:  Short  dress  with  petal-like  folds  of  deep 

pink. 
Bumble  Bee:  Black  suit  striped  with  yellow.     Gold 

belt.     Gray  gauze  wings. 
Will-o'-the-Wisp:  Black  suit,  spangled.     He  carries 

a  lighted   lantern. 
Prince    Butterfly:    Suit    of   brown.     Large    vari. 

colored  wings. 
Peas  Blossom:  Short  white  dress.     Pink  sunbonnet. 
Lily:  Long  orange-colored  robe  with  black  velvet  dots. 
Mignonette:  Deep  green  dress,  covered  with  tiny  red 

and  pale  green  stars. 
Iris:  White  trailing  dress  with  pale  lavender  overdress 

cut  like  Fleur-de-Lis  petals. 
Poppy:    Crimson    dress,    short,    made   of   shimmering 

silk.     Huge  red  poppy  leaf  hat. 
The   Queen   of   Hearts:   White    robe    with    red 

Hearts.     Long  train. 
The  other  Poppies  are  in  the  same  crimson  costume, 
but  the  Sweet  Peas  wear  white  dresses  with  different 
colored  sunbonnets,  pale  yellow,  de^p  purple,  white,  etc. 
Appropriate  music  for  the  flower  dance  would  be 
Nevin's    "  Narcissus,"    or    Lang's    "  Flower    Song." 
Music  should   also  be  played   during  the  pantomime 
where  the  Queen  leads  Wild  Rose  to  the  throne. 
76 


NIMBLE-WIT  AND  FINGERKIN 


CAST 


Katinka,  daughter  of  Nathan  the  woodcutter 

Dame  Difficulty,  a  witch 

Try,  a  sprite 

Nimble-Wit,  another 

First  Fingerkin,  "Thumbling  " 

Second  Fingerkin, 

Third  Fingerkin,  >-  Dwarfs 

Fourth  Fingerkin, 

Fifth  Fingerkin,  "  Little  Fingerkin,"  ^ 


DRAMATIC  DIRECTIONS 

While  fuller  directions  follow,  for  this  play  have  a 
plain  deal  table  and  two  or  three  deal  chairs  for  the 
furniture  of  the  schoolroom  stage;  a  spinning  wheel 
made  of  a  small  wagon  wheel  fastened  to  a  wooden 
frame,  and  having  an  imitation  spindle  which  the  boys 
can  easily  construct,  or,  what  is  easier  still,  a  loom 
made  of  a  simple  frame  of  laths  with  threads  stretched 
across  it  (see  any  authentic  picture  of  old-fashioned 
looms  or  spinning  wheels). 

Katinka  should  wear  a  cap  of  glazed  cambric  or 
white  tissue  paper  with  a  border  of  gay  red  and  blue 
tissue  paper  pasted  on  it.  A  deep  girdle  and  pouch 
pocket  made  of  glazed  cambric  with  a  red,  blue,  and 
green  border  basted  to  it,  to  give  it  a  quaint,  old- 
world  peasant  air.  For  Dame  Difficulty,  a  long  black 
dress,  black  shawl,  and  muffler  worn  as  a  hood.  From 
under  this  hood  float  long  wisps  of  gray  hair  made  from 
the  ends  of  frayed  rope.  Draw  charcoal  lines  about 
her  forehead,  mouth,  and  eyes,  to  give  her  a  truly 
witch-like  appearance.  Nimble-Wit  should  have  a 
scarlet  girdle  and  cap;  Try,  a  silver  wand,  crown  and 
girdle,  made  of  silver  paper  pasted  to  cambric.  The 
Fingerkins  should  wear  pinky-brown  tissue  paper  caps, 
all  alike,  to  give  them  an  elf-like  look. 
79 


80  DRAMATIC  DIRECTIONS 

The  cupboard  later  mentioned  can  be  made  of  dry- 
goods  boxes.  An  imitation  window,  made  by  putting 
up  a  little  curain  of  dark  glazed  cambric,  is  an  addition, 
but  not  strictly  necessary.  The  fireplace  is  made  of 
four  good  sized  drygoods  boxes  from  which  the  covers 
have  been  removed.  Nail  two  of  them  together,  and 
place  a  board  across  the  top,  one  end  resting  on  them, 
and  the  other  on  the  other  two.  Paint  or  chalk  them 
red,  leaving  white  lines  in  squares,  as  if  it  were  built 
of  bricks.  Or  paste  red  tissue  paper  all  over  it,  cut 
in  brick  shapes.  Smudge  it  a  little  with  charcoal  to 
give  it  the  effect  of  sootiness  and  long  use.  Have  a 
pair  of  andirons  made  of  cardboard  wired  and  painted 
black,  and  beneath  them  embers  of  red  paper  and  black 
coal.  Let  the  children  use  their  own  ingenuity  in 
helping  to  fashion  the  interior.  For  a  more  elaborate 
setting  and  array  of  costumes,  see  the  directions  that 
follow.  This  is  an  Industrial  play,  and  the  teacher 
would  do  well  to  dwell  on  such  aspects  of  it  as  are 
applicable  to  the  everyday  life  of  the  schoolroom. 


NIMBLE-WIT  AND  FINGERKIN 

Scene:  Dame  Difficulty's  house  in  the  midst  of  a 
wood.  A  somewhat  dark  room.  At  the  left  a  wide- 
mouthed  chimney  place.  A  large  black  witch's  caldron 
simmering  on  the  coals.  Above  the  chimneyplace  hang 
several  rude  iron  cooking  utensils,  notably  a  large  iron 
spoon.  At  the  left  background  a  window  curtained  in 
dark  cambric.  At  the  left  background  a  door  opening 
on  the  forest  without.  Between  the  window  and  the 
door  a  dark  arras.  Against  the  right  wall  a  cupboard. 
In  the  center  of  the  room  a  deal  table  and  chair. 

On  the  table  a  plate  of  dark  bread,  and  a  candle 
burning.  To  the  left  of  the  table  a  spinning-wheel 
and  stool.  On  the  floor  near  the  wheel  a  heap  of  gray, 
tangled  flax. 

At  the  rise  of  the  curtain  Dame  Difficulty,  an  evil- 
looking  witch,  is  seated,  busily  spinning.  From  time 
to  time,  as  she  spins,  she  raises  her  head,  as  if  listening. 
It  is  drawing  towards  twilight  and  occasionally  the 
iind  wails  without.  After  a  moment  Dame  Difficulty 
.eaves  her  wheel  and  bends  over  the  simmering  pot. 

Dame  Difficulty. 

Brew !     Brew ! 

Nightbane  and  rue! 

81 


82  NIMBLE-WIT  AND  FINGERKIN 

Herbs  from  strange  fens  and  morasses  up-torn — 

Bud  of  the  Languor  Flower,  root  of  the  Thorn! 

Bubbling  and  brewing 

To  mortal's  undoing 

The  Draught  of  Discouragement  ever  I  keep. 

My  black  herbs  I  steep. 

(Bending  over  pot.) 

Be  subtle  and  strong! 
Draw  fast!     Be  not  long! 

[Hovers  a  moment  over  brew  with  weird, 
menacing  gestures,  and  then  goes  to  wheel, 
and  begins  to  spin. 

Hist!     Hist! 

Linger  and  List! 

All   things   that   the   shadows  and   swamp-dew   have 

kissed ! 
This  way  and  that  does  my  Wonder-Thread  twist! 
Reel!     Reel! 
Each  turn  o'  the  wheel 

Is  weaving  and  winding  for  woe  or  for  weal ! 
From  the  Fens  of  Despair  have  I  gathered  the  flax, 
In  swamp  and  foul  lair  have  I  sought  the  wasp's  wax 
That  smooth  it  may  run 
When  once  'tis  begun. 
Gray — gray  is  the  weaving, 
And  strong  past  believing! 
But  he  who  has  striven, 
To  him  it  is  given 


XIMBLE-WIT  AND  FINGERKIN  83 

To  turn  it  to  gold. 
All  power  shall  he  hold 
Over  me  and  my  wheel. 
Therefore  riddle  and  reel 
Till  the  thread's  end   I   feel! 

[As  her  chant  ends  there  comes  a  timid  rap  on 
the  door  without. 


Dame  Difficulty. 

Who's  there? 

Katinka 

(clearly,  without). 

'Tis  I,  Katinka,  daughter  of  Nathan  the  wood- 
cutter. 

Dame  Difficulty. 

Lift  the  latch  and  enter. 

Katinka. 

(entering,  unlighted  lantern  in  hand). 

Good  Dame,  I  have  lost  my  way  in  the  wood,  and 
came  upon  the  tangled,  twisted  path  that  led  me  to 
your  door. 

Dame  Difficulty. 

Sit  you  down  and  rest.  There  is  bread  on  that 
platter  yonder.     Eat,  if  you  will. 


*4  NIMBLE-WIT  AND  FINGERKIN 

Katinka 

(prettily). 

I  thank  you.  (Sits  and  eats,  but  with  faint-hearted 
nibbles  that  show  she  does  not  relish  it.) 

Dame  Difficulty 
(keenly,  looking  up  from   her  spinning). 
Do  you  not  like  my  food? 

Katinka 
(frankly). 
It  has  a  bitter  taste. 

Dame  Difficulty 
(dryly).    . 
Few  find  the  Bread  of  Difficulty  sweet. 

Katinka. 

There  are  hours  when  nothing  seems  so!  This  has 
been  such  a  long,  long  day,  good  dame,  and  nought 
Has  gone  right  in  it  since  early  morning,  and  now,  at 
sunset,  I  have  lost  my  way.  'Tis  the  first  time  that 
such  an  ill  thing  has  ever  befallen  me,  for  I  know  the 
forest  paths  by  heart,  yet  this  is  the  only  twilight  I 
ever  came  upon  your  strange  little  house  with  its  heavy 
door. 

Dame  Difficulty. 

Aye,  all  people  come  to  that  door,  soon  or  late. 


NIMBLE-WIT  AND  FINGERKIN  85 

Katinka 
(wondering). 
But  have  I  never  seen  you  before,  good  dame? 

Dame  Difficulty 
(turning  and  facing  her). 

Nay,  never  before,  I  think,  so  look  well  at  me  now, 
and  see  that  you  do  not  forget  me!  (Katinka  stares, 
rather  frightened,  and  wholly  unable  to  remove  hei 
eyes.)  Do  you  think  me  beautiful  that  you  look  so 
long? 

Katinka 
(withdrawing  her  eyes). 

I  did  not  mean  to  stare,  good  dame.  Rudeness 
would  be  indeed  an  ill  payment  for  your  hospitality. 
(Rises.)  And  now  I  feel  I  can  return  in  safety,  for  the 
gleam  of  the  charcoal  burners'  fires  will  light  me 
through  the  dusk. 

Dame  Difficulty 

(clutching   her). 

Never  so  fast,  oh,  woodcutter's  child!  Those  who 
enter  the  door  of  Dame  Difficulty  go  not  forth  so 
easily.  Before  you  cross  that  threshold  again  there 
are  three  tasks  you  shall  accomplish.  (Indicates.) 
You  shall  turn  the  tangled  flax  to  silver;  you  shall  spin 
the  thread  to  gold;  and  make  my  bitter  brew  a  thing 
of  sweetness!     (Leering.)     Drink  deep  of  mv  caldron! 


86  NIMBLE-WIT  AND  FINGERKIN      ' 

Katinka 
(bewildered). 

But,  dame 

Dame  Difficulty 
(fiercely) . 

Speak  not  till  I  have  finished!  These  things  shall 
you  do  ere  I  return  again.  Work  swiftly,  oh  wood- 
cutter's child!  Who  lingers  under  my  roof  has  need 
of  every  moment!  (Exit  Dame  Difficulty  through  door 
in  background,  with  a  menacing  backward  glance.) 

Katinka 

(slowly). 

"  Has  need  of  every  moment!  "  What  means  she? 
(More  resolutely.)  Nay,  I  must  not  let  myself  be  af- 
frighted by  Dame  Difficulty!  (Runs  to  door.)  'Tis 
bolted !  How  noiselessly  she  turned  the  key !  (Shakes 
it.)  'Twould  take  more  strength  than  I  have  in  my 
bones  to  move  such  a  weight  an  inch!  (Runs  to  win- 
dow, pulls  curtain,  looks  out.)  Fastened!  Barred 
(Runs  to  fireplace  and  falling  on  knees  examines  it.) 
Alas!  I  could  never  crawl  up  so  steep  a  chimney! 
(Touching  spinning  wheel.)  And  this  wheel !  I  would 
fain  know  how  I  am  ever  to  spin  it  and  make  golden 
so  gray  a  thread!  And  this  flax — how  can  I  turn  it 
to  silver !  And  this  brew  (Bends  over  witch's  caldron) 
'tis  so  foul  and  thick  that  all  the  fire  in  the  world  will 
not  go  an  inch  towards  sweetening  it!     Alack  for  the 


NIMBLE-WIT  AND  FINGERKIN  87 

hour  I  ever  crossed  her  threshold!  (Bending  over 
caldron.)  She  said  I  must  taste  of  the  brew!  (Sips  at 
it  gingerly  with  a  huge  iron  spoon  that  hangs  near  by.) 
It  has  an  ill  savor!  (Puts  down  spoon  and  rises.) 
Time  shortens!  Night  comes  apace.  I  must  do  the 
best  I  can.  (With  growing  despair.)  And  yet — and 
yet — my  heart  grows  heavier,  and  heavier!  Oh,  I  can 
never  do  the  tasks,  I  know!  (Crosses  to  table,  and 
leaning  on  it  hides  head  in  arms.) 

Try 

(dancing  lightly  out  from  behind  arras  in  back). 

Nay,  Katinka,  be  not  so  down-hearted,  since  I,  a 
sprite  named  Try,  have  come  to  help  you. 

Katinka 

(raising  her  head). 

I  heard  no  step!     How  came  you  hither? 

Try 

(looking  cautiously  about). 

Hist!  'Tis  a  secret!  The  very  walls  might  speak 
it  if  they  knew!  By  my  white  magic  I  can  make 
myself  as  tall  as  a  mountain  or  as  small  as  a  mouse. 
And  'tis  when  I  am  small  as  a  mouse  that  I  creep 
behind  yonder  arras,  and  only  come  out  again  when  I 
see  that  I  am  greatly  needed.  Little  does  Dame  Diffi- 
culty guess  that  I  lodge  beneath  her  very  roof !  (Mys- 
teriously.) Aye,  and  there  be  others  who  lodge  here 
also! 


88  NIMBLE-WIT  AND  FINGERKIN 

Katinka 
(pleadingly). 
Good  Try,  will  you  not  help  me? 

Try. 

I  cannot  help  you,  Katinka;  but  I  can  show  you 
where  help  lies.     It  is  you  who  must  help  yourself. 

Katinka 
(beseeching). 
But  I  so  greatly  need  your  aid! 

Try. 

There  is  aid  in  my  words,  Katinka,  when  I  tell 
you  that  if  you  do  not  master  Dame  Difficulty  she 
will  master  you!  But  once  having  mastered  her, 
whenever  you  meet  her,  you  need  fear  her  no  more! 

Katinka. 

Indeed,  indeed  I  will  do  your  bidding,  good  sprite, 
though  there  are  so  many  things  to  be  accomplished 
that  my  heart  grows  heavy  at  the  very  thought  of  them 
The  brewing (Bends  to  taste  from  caldron.) 

Try 

(passionately). 

Put  down  the  draught,  Katinka!  Touch  it  not  on 
your  life!     Already  one  sip  of  it  has  made  your  heart 


NIMBLE-WIT  AND  FINGERKIN  89 

like    lead.     'Tis    the    Draught    of    Discouragement — 
Dame  Difficulty's  ill  brewing! 

Katinka. 
Is  there  no  way  to  sweeten  it? 

Try 

(taking  leaves  of   an  herb  from  girdle  and  gives  it  to 
Katinka). 

But  one — the  leaf  of  a  little  herb  called  Hope.     'Tis 
a  common  plant,  and  grows  by  every  roadside. 

Katinka 
(after  sprinkling  herb  leaves  into   caldron). 

Already  it  begins  to  clear!     (Goes  to  flax.)     How 
tangled  the  flax  is!     (She  begins  to  work  on  it.) 

Try 

(singing). 

Those  who  heed  the  voice  of  Try 
Will  find  that  Nimble-Wit  is  nigh! 
Come,  then,  clever  Nimble-Wit — 
To  this  skein  your  magic  fit! 

Nimble-Wit 

(springing  out  nimbly  from  behind  the  arras  in  back- 
ground). 

I  have  lain  here  for  long  hours  waiting  for  Try's 


90  NIMBLE-WIT  AND  FINGERKIN 

voice  to  arouse  me,  and  now  that  I  may  caper  as  I 
will,  I  am  at  your  service,  Katinka. 

Katinka. 

Pray  you,  good  Nimble- Wit,  what  will  you  do  to 
aid  me? 

Nimble-Wit. 

I  will  summon  the  most  wonderful  little  wizards 
in  the  world — the  dwarfs  who  always  move  at  my 
bidding. 

Katinka. 
And  who  are  they? 

Nimble-Wit. 

They  are  none  but  the  Five  Fingerkins,  Thumbling 
and  his  brothers! 

[The  Five  Fingerkins  spring  out  from  behind 
the  arras  in  background  at  these  words. 

Thumbling 

(as  the  other  Fingerkins  stand  in  a  row  and  bow  loiv)* 
What  is  your  will  with  us,  good  Nimble- Wit? 

Nimble- Wit. 

My  will  is  that  vou  should  aid  Katinka.  Yonder 
is  the  flax  of  failure — it  must  be  turned  to  silver. 
There  is  the  Thread  of  Difficulty — it  must  be  spun  to 
gold.     And  Katinka  herself  must  do  the  spinning. 


NIMBLE-WIT  AND  FINGERKIN  91 

Second  Fingerkin 
(going  to  flax). 
Your  will  is  our  pleasure,  Nimble- Wit! 

Third  Fingerkin 
(joining  Second  Fingerkin). 
You  will  see  how  fast  the  work  will  fly! 

Fourth  Fingerkin 

(at  iv  he  el).  , 

My  place  will  be  by  Katinka! 

Fifth  Fingerkin 
(in  a  squeaky  little  voice). 
Thumbling,  come  help  me  by  the  wheel ! 

[Thumbling  and  Fifth  Fingerkin  seat  them- 
selves on  the  floor,  left,  and  wind  the  thread 
that  is  made  from  the  flax  which  is  being 
spun;  Try  stands  near  the  brew  at  fireplace, 
occasionally  stirring  up  the  coals,  and 
Nimble-Wit  hovers  about  Katinka  at  the 
wheel.  During  all  the  previous  business, 
while  the  Fingerkins  have  been  finding  their 
places,  Katinka  under  the  pantomimic  di- 
rections of  Nimble-Wit  has  been  learning  to 
spin. 


02  NIMBLE-WIT  AND  FINGERKIN 

First  Fingerkin 
(busily). 

Aye,  'tis  of  a  truth  that  Dame  Difficulty  can  never 
master  us! 

[For  a  few  moments  the  work  goes  on  in 
silence,  all  doing  their  part  in  it,  making 
it  a  very  animated  pantomime.  Then,  grad- 
ually Katinka  shows  signs  of  tiring — the 
wheel  goes  slower;  she  yawns  and  stretches. 

Katinka. 
Alack !    •'Tis  a  wearisome  thing  to  turn  a  wheel ! 
Try 
(from  place  by   hearthstone). 
Spin!     Spin!     Katinka!     Let  not  a  moment  pass! 
Katinka 
(impatiently). 
Out  upon  such  labor,  say  I! 
Try 
(disturbed). 
Beseech  you,  heed  my  voice! 

Katinka 
(more  and  more  impatiently). 
This  flax !     How  often  it  breaks !     Never  will  it  be- 
come gold! 


NIMBLE-WIT  AND  FINGERKIN  93 

Nimble-Wit 
(warningly). 
The  wheel  is  stopping,  Katinka! 

Katinka 

(pettishly). 

1  care  not!  (Stops  wheel  with  a  jerk,  and  leans 
back  indolently  in  her  chair.  The  instant  she  stops 
work  all  the  others  stop  work  also,  as  if  suddenly 
frozen — Try,  in  the  act  of  poking  the  coals,  becomes  a 
statue,  the  Fingerkins,  with  work  upraised  in  their 
hands,  become  absolutely  rigid.  Nimble-Wit  stands 
motionless  behind  her  chair.  Katinka  finally  drowses. 
There  is  a  moment's  utter  silence,  which  is  broken  by 
the  soft  fall  of  a  coal  on  the  hearth.  Katinka  starts, 
opens  her  eyes,  looks  about,  and  perceives  what  has 
happened.)  Why,  they  are  all  like  statues!  (Runs 
about,  trying  to  move  them,  but  in  vain.)  They  do 
not  move!  They  do  not  hear!  They  do  not  even 
answer!  And  my  spinning — 'twill  come  to  nought! 
The  witch  may  soon  return — Oh,  I  must  work  with 

all  my  strength — with  all  my  soul (Runs  back 

to  chair,  seats  herself  and  begins  to  spin.  With  the 
first  revolution  of  the  wheel  the  Fingerkins  slowly  and 
silently  begin  to  stir.  Katinka  suddenly  looks  up  and 
sees  them.)     They  wake!     They  stir! 

Try. 

Aye,  for  the  spell  is  broken  1 


94  NIMBLE-WIT  AND  FINGERKIN 

Nimble-Wit. 

'Tis  you  who  rule  us  and  give  us  power.  Without 
you  we  can  do  nought — the  Fingerkins  are  helpless. 
When  you  are  idle,  we  are  idle  also.  When  you 
would  work  we  spring  to  your  least  word! 

Katinka 
(tremblingly  keeping  on  with  her  spinning). 

Alas !  good  Nimble-Wit,  what  shall  I  do  when  Dame 
Difficulty  returns? 

Nimble-Wit 
(quietly  smiling). 

Long  ere  that  you  will  be  on  your  way  homeward, 
Katinka.  For  when  these  tasks  are  done,  the  latch  of 
Difficulty  will  fall  of  its  self,  and  you  will  be  free. 

Try. 

And  to-morrow,  Katinka,  all  this  will  seem  like  a 
dream,  and  you  will  say  to  yourself:  "What  strange 
things  happened  while  I  slept !" 

Katinka. 

(wistfully). 

And  must  I  bid  farewell  to  you  then  for  always? 

Try. 

Nay,  this  is  not  our  only  home,  though  it  is  beneath 
this  roof  that  we  have  become  best  acquainted.     We 


NIMBLE-WIT  AND  FINGERKIN  95 

have   other   dwelling   places.      My   true   home   is   in 
people's  hearts. 

Nimble-Wit. 
And  mine  in  their  heads. 

Thumbling. 

And  ours — Brothers,  shall  I  tell  her  the  secret  of 
who  we  are  and  where  we  live? 

[All  Fingerkins  nod  vigorously  in  assent. 

Thumbling. 
We're  the  dwarfs  who  come  at  each  child's  command. 

Second  Fingerkin. 
By  our  art  Dame  Difficulty's  tasks  are  spanned. 

Third  Fingerkin. 
Would  you  see  our  home  ?     Then  look  at  your  hand  I 

All  Fingerkins 
(together,  jovially). 
We're  the  Five  Little  Fingerkins! 

Thumbling. 
There's  never  a  task  we  can't  put  through! 

Second  Fingerkin. 
We're  always  ready  your  will  to  do! 


96  NIMBLE-WIT  AND  FINGERKIN 

Fourth  Fingerkin. 
And  I'd  call  quite  often  if  I  were  you. 

All  Fingerkins 
(as  before). 
On  the  Five  Little  Fingerkins! 

Try. 

Come,  look  to  the  brewing,  Katinka! 

[Katinka  crosses  to  hearthstone  and  bends  over 
caldron.  Incense  is  burned  behind  the 
scenes  so  that  it  fills  the  room. 

Katinka. 
It  has  grown  clear,  and  has  the  sweetest  fragrance ! 

Try 
(nodding). 

It  is  the  savor  of  Heartsease! 

[Sound  of  a  latch  falling  without. 

Katinka. 

What  sound  was  that? 

Try. 

The  falling  of  the  Latch  of  Difficulty! 


NIMBLE-WIT  AND  FINGERKIN  97 

Thumbling 

(jumping  up). 

Brothers,  our  tasks  are  finished.  (During  the  work 
that  has  gone  before,  the  Fingerkins  have  been  adding 
gold  and  silver  tinsel  threads  to  what  they  do,  so  that 
now  it  shimmers  in  the  candlelight.)  And  here  is 
your  lantern,  Katinka,  to  light  you  homeward  through 
the  dark  forest. 

Nimble-Wit. 

And  we  will  go  with  you  and  guard  you  to  the  door. 

Katinka 

(sorrowfully). 

Only  to  the  door,  good  Nimble-Wit?  Alas!  I  had 
not  thought  to  part  with  you  so  soon! 

Nimble- Wit. 

You  shall  not  part  from  us,  Katinka,  for  now  that 
you  have  truly  come  to  know  us  we  will  be  your 
servants  always.  But  say  to  yourself:  "  I  will  try," 
and  we  will  appear! 

Try. 

Lead  the  way,  Nimble-Wit.  Come,  Fingerkins, 
with  the  lantern! 

[Delicate  music  off  stage.  Exit  all  into  the 
forest;  the  door  closes  after  them.  A 
pause.  Dame  Difficulty  lifts  the  latch  and 
enters. 


98  NIMBLE-WIT  AND  FINGERKIN 

Dame  Difficulty. 

Gone?  Aye,  when  the  latch  fell  loose  to  my  touch 
I  feared  that  it  was  so!  The  child  has  escaped  me! 
She  has  mastered  me !  (Peers  further  about.)  Strange 
spirits  have  been  at  work  while  I  was  absent!  The 
brew  is  clear  and  fragrant;  the  flax  is  touched  with 
silver!  (Lifts  candle  and  looks  at  thread.)  Aha!  I 
see  she  has  learned  white  magic,  that  woodcutter's 
daughter,  for  even  the  gray  Thread  of  Difficulty  has 
been  turned  to  gold! 


COSTUMES 

Katinka:  Peasant  costume.  Scarlet  skirt  with  three 
rows  of  black  ribbon  on  it.  Black  velvet  bodice, 
white  guimpe,  and  sleeves.  Black  velvet  belt  and 
pouch  pocket,  richly  embroidered  in  many  colors. 
White  "  Normandy  "  cap.     Hair  in  braids. 

Dame  Difficulty:  Black  robe,  black  mantle,  and 
black  witch's  hood.  From  beneath  this  hang  long 
gray  elf  locks. 

Try:  Pale  lavender  robe  falling  in  long  graceful  folds 
to  her  feet.  Angel  sleeves.  Square  neck  edged 
with  silver.  Silver  spangles.  Silver  wand  and 
wreath  in  hair.  ♦ 

Nimble- Wit:  Dark  gray  suit,  doublet,  and  hose. 
Scarlet  girdle,  and  scarlet  feather  in  cap. 

Fingerkins:  Light  brown  suits,  all  alike,  and  of  the 
same  style,  in  a  measure,  as  Nimble-Wit's.  Light 
brown  peaked  caps.     Brown  leather  belts. 


A  LITTLE  PILGRIM'S  PROGRESS 


CHARACTERS 

In  Order  of  their  Entrance 

Dame  Decision 

The  Little  Pilgrim 

Steadfast 

Knowledge 

Courage 

Joyousness 

Falsepride 

Selfishness 

boastfulness 

Faintheart 

Honesty 

Anger 


DRAMATIC  DIRECTIONS 

The  setting  of  this  play  calls  for  two  deal  tables 
and  four  benches.  Chairs  will  do  if  no  benches  can 
be  had.  There  should  be  two  entrances,  as  indicated 
in  the  further  directions  for  the  play.  These  can  be 
arranged  by  means  of  screens  or  draped  clothes-horses. 
In  case  screens  are  used  be  sure  to  turn  the  plain  side 
to  the  audience.  The  fireplace  is  made  by  nailing  dry- 
goods  boxes  together  with  a  board  across  the  top,  and 
painting  the  whole  to  represent  brick.  Embers  of  red 
paper  and  black  coal.  An  empty  bookcase  for  a  cup- 
board. 

Over  her  everyday  clothes  the  child  who  plays  Dame 
Decision  should  wear  a  white  Puritan  cap  and  ker- 
chief. All  the  children,  including  those  who  play  the 
part  of  the  vices,  should  wear  the  long  "  Pilgrim  "  or 
"  Traveler's "  cloaks  that  were  the  custom  in  those 
days.  This  will  hide  their  everyday  apparel  and  make 
them  sufficiently  "  costumed  "  to  suit  any  schoolroom 
needs.  The  cloaks  can  be  made  of  two  or  three  yards 
of  cheese  cloth.  (See  any  well-known  picture  of  Pil- 
grims or  Puritans).  Russet  cloak  for  the  Pilgrim. 
Old-rose  cloak  for  Steadfast.  Purple  cloak  for  Knowl- 
edge. For  Courage  a  pale  gray  cloak,  a  helmet  fash- 
ioned of  cardboard  and  covered  with  silver  paper,  and 
103 


104  DRAMATIC  DIRECTIONS 

a  belt  to  which  a  sword  is  attached.  Falsepride,  a 
cloak  of  figured  Japanese  crepe,  the  kind  that 
has  gold  and  flowers  on  it.  Selfishness,  black  cloak. 
Boastfulness,  dark  green  cloak,  yellow  cardboard  hel- 
met and  breastplate.  Faintheart,  cloak  one-half  blue, 
and  one-half  black.  Anger,  scarlet  cloak.  Honesty, 
dull  brown  cloak,  pointed  black  hat  made  of  a  peaked 
tissue  paper  cap  to  which  is  fastened  a  black  cardboard 
rim.  Pack  made  of  black  cardboard  box  strung  with 
black  cords  at  shoulder.  The  play  is  suited  for  any 
month  or  holiday  when  the  teacher  wishes  to  hold  the 
Pilgrims  most  in  mind.  For  this  reason  it  would  make 
a  good  Thanksgiving  play.  Tell  the  children  the  story 
of  Bunyan's  Pilgrim's  Progress,  and  show  them  the 
really  beautiful  pictures  that  accompany  the  text  in 
many  good  editions.  Show  them  also  that  the  virtues 
that  the  little  Pilgrim  finally  possessed  were  just  such 
virtues  as  the  real  Pilgrims  brought  to  this  new  land 
of  ours — and  that  they  clung  to  them  in  spite  of  war, 
famine,  loneliness,  and  disaster.  Had  the  Pilgrims 
been  of  the  same  stripe  as  Faintheart  and  Selfishness 
they  would  never  have  taken  the  perilous  voyage  in  the 
Mayflower.  But  Honesty,  Courage,  Steadfastness 
Knowledge,  Joyousness  (Cheerfulness  in  their  case)v 
were  what  they  brought  with  them.  Have  the  children 
find  which  of  the  Pilgrim  heroes  stood  most  clearly 
for  each  of  these  separate  virtues,  Standish,  Alden 
and  many  more.  In  connection  with  the  play  read 
them  such  stories  as  will  interest  them  most.  "  A 
Little  Captive  Lad,"  etc.,  etc.     Show  the  children  that 


DRAMATIC  DIRECTIONS  105 

the  little  Pilgrim  in  the  play  is  the  prototype  of  all 
Pilgrims.  Directions  for  a  full  stage  production  of 
the  play  herewith  follow;  and  the  teacher  should  read 
the  directions  aloud,  for  even  if  the  schoolroom  cannot 
compass  all  the  settings  and  costumes,  it  will  give  the 
children  an  idea  of  the  atmo'sphere  and  costumes  of  the 
time.  If  the  play  is  given  in  the  schoolroom  at  Thanks- 
giving exercises,  the  following  prologue  relating  to  the 
Pilgrims  may  be  spoken  by  a  boy  dressed  as  a  Town 
Crier.  He  should  wear  a  tall  Pilgrim  hat,  deep  white 
Pilgrim  collar  and  a  pair  of  white  cuffs.  A  long  dark 
cloak  fastened  at  his  shoulders,  and  on  his  everyday 
shoes  a  pair  of  wide  gilt  paper  buckles  securely  fas- 
tened. Around  his  neck  a  white  cardboard  placard 
bearing  the  words:  Town  Crier.  He  should  read 
the  prologue  from  a  printed  slip  rolled  to  represent 
parchment.  In  his  left  hand  he  carries  a  bell.  If 
the  play  is  given  at  any  other  time  than  Thanksgiving, 
this  prologue  is  not  recited;  but  in  either  case  the  one 
by  Dame  Decision  is  always  said. 


SPECIAL  THANKSGIVING  PROLOGUE 

Friends,  such  a  scene  as  here  shall  be 
Was  oft  enacted  over-sea 
In  those  old  wondrous  far-off  days 
When  Pilgrims  with  their  proud,  staunch  ways 
Refused  the  wrong  and  chose  the  right, 
And  let  their  sureness  be  their  might. 
Their  praises,  therefore,  let  us  sing 
'Twas  they  who  made  our  Thanksgiving! 
(And  spread  a  feast  on  that  far  morn 
To  bless  the  garnered  fruit  and  corn — 
The  apples  and  the  golden  maize — 
For  these  they  gave  all  thanks  and  praise!) 
Wise-hearted  Pilgrims,  true  and  sure, 
Quick  to  endeavor  and  endure, 
'Twas  they  with  work  of  brain  and  hand 
Who  sought  and  founded  our  new  land! 
They  had  no  thought  of  ease  or  pelf, 
They  bid  farewell  to  Love  of  Self, 
They  bravely  passed  through  times  of  stress, 
Yet  gave  not  way  to  Boastfulness. 
They  conquered  Anger  and  Falsepride, 
No  Faintheart  could  with  them  abide. 
Grim  fear  before  their  stout  souls  flew, 
Courage  they  had,  and  Knowledge,  too, 
106 


SPECIAL  THANKSGIVING  PROLOGUE       107 

And  Steadfastness!     While  in  each  heart 

High  Joyousness  bore  equal  part, 

Or  else  how  could  the  Pilgrims  face 

From  day  to  day  the  strange  new  place 

Beset  with  famine  and  with  foe, 

With  hardship,  bleakness,  wind,  and  snow! 

They  suffered  hunger,  sickness,  cold, 

They  had  few  goods  and  little  gold. 

It  was  the  spirit  that  they  brought 

Which  did  the  marvels  that  they  wrought— 

A  spirit  dauntless,  gallant,  high, 

Bequeathed  to  us  to  profit  by. 

So,  comrades,  as  there  now  draws  near 

The  time  of  bounty  and  of  cheer, 

Remember  what  the  Pilgrims  bore 

In  coming  to  this  unknown  shore, 

And  keep  the  land  they  gave  to  you 

Forever  splendid,  great,  and  true! 


PROLOGUE 

To  be  Spoken  by  Dame  Decision 

Friends,  to  what  follows  list  ye  well 

And  we  will  straightway  strive  to  tell 

A  Little  Pilgrim's  history. 

How  at  an  inn  he  came  to  be ; 

What  friends  he  made,  what  foes  he  met ; 

How  in  the  end  he  was  beset. 

Here  for  a  space  there  shall  abide 

Selfishness,  Anger,  and  Falsepride. 

Staunch  Courage  with  his  broadsword  bright. 

And  Joyousness  with  footsteps  light. 

Our  curtain,  rising,  shall  disclose 

What  comrades  the  young  Pilgrim  chose 

To  company  his  onward  way. 

So,  hearken,  friends,  unto  our  play, 

And  whether  it  shall  please  or  pall, 

We  cry  your  patience  for  it  all. 


108 


A  LITTLE  PILGRIM'S  PROGRESS* 

In  the  Manner  of  a  Morality 

Scene:  Dame  Decision  s  Inn,  1678.  Door  in  center 
background.  Another  door  at  left.  On  each  side  of 
the  door  in  background  are  windows  curtained  in  dark 
damask. 

In  exactly  the  same  place  at  right  and  left,  half- 
way from  the  center  of  the  stage,  two  dark  wooden 
tables,  with  benches  by  them.  On  the  tables  wooden 
cups  and  ewers  filled  with  water. 

At  the  right  a  fireplace:  iron  pot  simmering  on  the 
embers.  On  its  hearth  a  thorn  broom,  a  bellows. 
On  the  mantelshelf  a  trencher,  pewter  plates  and 
candlesticks,  etc. 

The  rest  of  the  room  is  quite  bare. 

The  door  in  background  opens  on  a  road  gray  with 
dust,  and  a  few  bushes.  The  light  of  afternoon  falls 
through  the  curtained  windows,  gradually  deepening 
through  twilight  to  night. 

At  the  rise  of  the  curtain  Dame  Decision  is  stooping 
mending  the  fire.  The  Little  Pilgrim  pushes  the  door 
in. background  and  enters  timidly. 

•  Copyright,  1909,  by  the  Century  Co, 

100 


no  A  LITTLE  PILGRIM'S  PROGRESS 

The  Little  Pilgrim. 

Good  dame,  I  pray  you,  may  I  rest  me  here? 
A  pilgrim,  I! 

Dame  Decision 
(rising). 
Enter,  and  be  of  cheer. 

The  Little  Pilgrim 
(sitting  at  table  at  right), 
I  thank  you. 

Dame  Decision. 

Whither  are  you  journeying? 

The  Little  Pilgrim. 

I  go  to  seek  th   ,City  of  the  King. 
And  here  the  road  turns. 

Dame  Decision. 

Aye,  for  good  or  illa 
My  name  is  Dame  Decision.     Sit  you  still 
And  rest,  till  other  pilgrims  hither  wend. 

The  Little  Pilgrim 

(eagerly). 

Think  you  among  them  I  shall  find  a  friend 
To  bear  me  company  along  the  way? 
Oh,  counsel  me,  good  Dame,  I  pray  you. 


A  LITTLE  PILGRIM'S  PROGRESS  in 

Dame  Decision. 

Nay, 
Pilgrim,  I  may  not.     Who  doth  here  abide 
Must  choose  his  own  friends,  his  own  way  decide. 
Only  by  trial  is  true  wisdom  bought. 
Did  I  decide  for  you,  'twould  count  you  nought. 
My  part  is  but  to  keep  the  fire  alight, 
The  tables  garnished,  and  the  flagons  bright, 
And  the  hearth  swept — for  every  wand'ring  guest. 

[Fills  cup  with  water  and  hands  it  to  him, 

Drink  deep.     'Tis  from  the  Well  of  Peace  and  Rest ! 

The  Little  Pilgrim. 
May  any  enter  here  and  welcome  find? 
Dame  Decision 
(looking  out  of  casemenij. 
Aye,  for  my  inn  is  open  as  the  wind 
To  all  who  come.     My  hearthstone  ever  burns 
For  every  wayfarer  who  hither  turns. 

The  Little  Pilgrim. 
Your  casements  shine  as  brightly  as  a  star! 

Dame  Decision. 

The  Casements  of  Perception,  child,  they  are. 
Ever  I  strive  to  keep  them  fair  and  clean 
So  that  through  each  the  world  is  clearly  seen — 
The  radiant  sunshine,  and  the  wide  blue  sky — 
The  long  road  and  its  many  passers-by; 


ii2  A  LITTLE  PILGRIM'S  PROGRESS 

For  if  the  Casements  dark  and  cloudy  grow 
Dark,  too,  will  be  the  outside  world  they  show! 
They  who  would  ever  see  the  world  aright 
Should  keep  the  Casements  of  Perception  bright. 

Steadfast 
(entering). 
Good  morrow,  comrade! 

The  Little  Pilgrim. 

Will  you  sit  by  me, 
Seeing  that  pilgrims  at  this  inn  we  be? 

Steadfast 

(clasping  the  hand  that   The  Little  Pilgrim   extends 

to  him). 
Although  I  know  you  not,  I  like  you  well. 
My  name  is  Steadfast. 

[After  The  Little  Pilgrim  and  Steadfast  meet, 
Dame  Decision  exits  left. 

The  Little  Pilgrim 
(gazing  at  him). 

So  thine  eyes  do»  tell !  ' 
[They  sit  at  opposite  sides  of  the  table. 
To  seek  the  City  of  the  King,  I  go. 

Steadfast. 
Then  I  will  fare  with  you,  come  weal  or  woe, 
And  so  will  all  my  friends  who  now  draw  nigh, 
Knowledge  and  Joyousness  and   Honesty. 


A  LITTLE  PILGRIM'S  PROGRESS  113 

The  Little  Pilgrim. 
Lo!     By  the  doorway  I  see  some  one  stand. 

Steadfast. 
'Tis  Knowledge  with  a  script  and  staff  in  hand. 

Knowledge 

(entering). 
Pilgrim,  much  good  I  wish  you. 

The  Little  Pilgrim 

(bowing). 

Grammercy! 
And  will  you  tell  us  tales  of  land  and  sea 
As  on  we  journey?     Give  us  counsel  sage? 

Knowledge 
(crossing  to  table  at  left). 
Vea,  to  the  ending  of  your  pilgrimage. 

Courage 

(entering). 
A  blithe  good  morrow  to  you,  one  and  all! 

Knowledge. 
'Tis  Master  Courage! 

Steadfast. 

Now  if  aught  befall 
We  shall  be  valiant. 


114  A  LITTLE  PILGRIM'S  PROGRESS 

Courage 
(to  Pilgrim). 
When  you  are  dismayed 
Take  up  this  broadsword.     It  will  be  your  aid. 

[All  seat  themselves  at  table,  left. 

The  Little  Pilgrim. 
Courage,  I  thank  you. 

[Faint  music  heard  off. 

Steadfast. 

Hist!     Dost  thou  not  hear 
Sweet  strains  of  music?    Joyousness  draws  near. 

Joyousness 
(entering). 
Comrades,  a  thousand  greetings! 

Steadfast. 

Now  shall  we 
Set  out  upon  our  way  right  merrily 
Since  thou  art  with  u% 

Joyousness 
(joining  them). 

It  will  be  my  part 
To  bring  great  gladness  unto  every  heart. 

[They  fill  flagons,  and  take  bread  from   their 
wallets.      Enter    Falsepride,    who    goes    to 


A  LITTLE  PILGRIM'S  PROGRESS  115 

table,   right.      A    moment  later  Selfishness 
enters  and  goes  to  same. 

The  Little  Pilgrim 
(dazzled). 
Look  now  who  enters  in  a  splendid  dress ! 

Joyousness. 
'Tis  Falsepride,  followed  close  by  Selfishness. 

The  Little  Pilgrim. 
Will  they  not  come?     Are  they  not  friends  of  thine? 

Joyousness. 

Nay,  Pilgrim,  they  were  never  friends  of  mine, 
And  whoso  chooseth  with  them  to  remain 
Must  say  farewell  to  us  and  all  our  train. 

[Enter  Boastfulness. 
See!     Boastfulness  now  joins  them. 

The  Little  Pilgrim 
(plainly  interested  in  the  newcomers). 

With  an  air 
More  valiant  than  doth  even  Courage  wear. 

Knowledge 
(gravely). 
If  you  would  spurn  the  false  and  choose  the  true 
Judge  not  by  what  folk  seem,  but  what  they  do! 

[The  newcomers  at  the  table  laugh  and  talk  in 


n6  A  LITTLE  PILGRIM'S  PROGRESS 

dumb  show.     They  are  presently  joined  by 
Faintheart. 

Steadfast 

(to  Pilgrim). 

Now   comes   that   trembling  wight   named    Faint-of- 

Heart 
Whose  very  shadow  makes  him  shrink  and  start. 

Honesty 
(without). 
Wares  ho!     Wares  ho! 

The  Little  Pilgrim 
(excited). 
Dost  thou  not  hear  a  shout? 

Courage. 
Mayhap  some  merchant  man  is  there  without. 
Honesty 
(appearing  in  doorway). 

Wares  ho! 

All 

(rising), 
A  peddler! 

Honesty 
(coming  forward,  center). 

Honesty's  my  name, 


A  LITTLE  PILGRIM'S  PROGRESS  117 

[Holds  up  gems  richly  set  in  gold. 
And  these  fair  jewels,  glancing  like  a  flame, 
Are  Love  and  Kindliness. 

All 
(delighted,  entranced  at  sparkle). 
Ah! 

Honesty. 

Who  will  buy? 
[General  interest.     They  crowd  round  Hon- 
esty. 

Selfishness 

(shouldering  forward). 
Friends,  give  me  room.     /  wish  the  gems  to  try! 

Honesty 

(with   a  wise  smile). 
Nay,  gently,  Selfishness,  release  your  hold, 
For  see,  your  touch  doth  tarnish  all  the  gold ! 

[Tosses  gems  to  Joyousness, 

Falsepride 
(taking  looking-glass  from  pack). 
I  prithee,  sell  this  mirror  unto  me. 

Honesty 
(shaking  his  head). 
It  is  the  mirror  of  Humility. 


Ii8  A  LITTLE  PILGRIM'S  PROGRESS 

You  cannot  purchase  it,  Falsepride,  alas! 

For  you  have  looked  too  long  in  Self-Love's  glass. 

BOASTFULNESS 

(sucking  his  finger  with  a  cry). 

Good  lack! 

Honesty 

(amused). 

What !     Boastfulness,  hath  felt  the  prick 
Of  Truth's  sharp  needle,  reaching  to  your  quick? 

[The  vices  withdraw  to  their  former  position 
near  table,  right,  while  Honesty  does  a 
thriving  trade  with  the  virtues,  left,  Pilgrim 
hesitates,  center. 

Falsepride 
(going  to  him,  winningly). 
Pilgrim,  will  you  not  join  us? 

The  Little  Pilgrim 

(somewhat  flattered). 

Nay,  Falsepride, 
For  I  have  sworn  with  Steadfast  to  abide. 

Boastfulness 
(swaggering  up). 
And  who  is  he  that  thou  shouldst  promise  so? 


A  LITTLE  PILGRIM'S  PROGRESS  119 

Falsepride 

(sneering). 
Will  you  with  peddlers  and  with  strollers  go? 

(cajolingly) 
You,  who  are  wise  and  brave — 

The  Little  Pilgrim 
(drawn). 

Her  words  are  sweet f, 

Faintheart. 
Tarry  with  us! 

Falsepride. 

Yea,  stay,  I  do  entreat. 

The  Little  Pilgrim 

(turning,  sees  his  late  comrades  putting  on  their  cloaks 
for  departure). 

What!     Courage,  will  you  go,  and  Knowledge,  toe? 

Courage 

(leaving  with  Knowledge). 

Aye,  Pilgrim,  for  our  way  we  must  pursue 
To  the  King's  City. 

[Exit  Courage  and  Knowledge. 

The  Little  Pilgrim. 

Joy,  will  you  begone? 


120  A  LITTLE  PILGRIM'S  PROGRESS 

JOYOUSNESS. 

Aye,  for  when  Courage  leads,  I  follow  on 
With  Peddler  Honesty. 

[Exit  Joyousness  and  Honesty. 

Steadfast 
(pausing). 

Bethink  you,  friend, 
You  said  you  would  go  with  me  to  the  end. 

Falsepride 
(plucking  at  Pilgrim's  sleeve). 
Nay,  but  you  are  too  fine  for  such  as  they! 

Faintheart 
(over  Pilgrim's  shoulder). 
Rough  is  the  road  they  tread,  and  long  the  way! 

Steadfast 
(sturdily). 
But  straight  and  sure. 

BOASTFULNESS. 

Heed  not  the  tales  they  tell. 

Steadfast 
(sorrowfully). 
Then  farewell,  Pilgrim. 

[Exit  Steadfast. 


A  LITTLE  PILGRIM'S  PROGRESS  121 

The  Little  Pilgrim. 

Steadfast,  fare  thee  well! 
Heavy  my  heart  feels,  now  that  he  is  sped. 

[Goes  slowly  to  table  at  right  and  seats  himself. 
Anger  enters  suddenly  and  lays  fierce  hands 
-  on   Pilgrim's  shoulders. 

Anger. 
Wilt  thou  usurp  my  place?     The  table's  head? 

The  Little  Pilgrim 
(startled). 
I  knew  not  'twas  thy  place  to  which  I  came! 

Anger 
(loudly). 
Peace,  lest  I  smite  thee!     Anger  is  my  name! 

The  Little  Pilgrim 
(trembling). 

Alas,  the  friends  I  did  but  now  forswear 

Were  kind  and  gentle,  and  their  speech  was  fair! 

Falsepride 

(rising).  \ 

Come,  comrades,  we  have  supped  and  drunk  our  fill 
Let  us  begone! 

[All  rise,  don  cloaks,  etc. 


122  A  LITTLE  PILGRIM'S  PROGRESS 

Faintheart. 
Tarry  a  little  still. 

The  Little  Pilgrim 
(radiantly). 
Now  set  we  forth  upon  our  journeying 
At  last,  to  seek  the  City  of  the  King! 

Selfishness. 

"  The  City  of  the  King  "  ?     What  words  are  these? 
I  take  whatever  path  doth  me  most  please. 

Faintheart. 
To  me  the  easiest  way  doth  seem  the  best. 
The  Little  Pilgrim 

(bewildered). 
Will  none  of  ye  go  with  me  on  my  quest? 

(passionately) 
Why,  but  ye  promised  the  same  road  to  take! 

Falsepride. 
Promises,  Pilgrim,  that  were  made  to  break. 

The  Little  Pilgrim 
(beseeching). 

Faintheart ! 

Faintheart. 

Nay,  Pilgrim,  plead  not  thus  with  me. 
I  go  with  them.     I  dare  not  go  with  thee. 


A  LITTLE  PILGRIM'S  PROGRESS 

The  Little  Pilgrim 

(still  more  urgently). 
Boastfulness ! 

BOASTFULNESS. 

Nay,  I  will  not! 


123 


The  Little  Pilgrim. 


You  did  prate 


Of  bravery. 


Boastfulness. 

Aye,  but  the  hour  grows  late. 
With  darkling  shadows  all  the  way  is  sown. 
Night  comes. 

The  Little  Pilgrim 

(terrified). 
You  will  not  leave  me  here  alone? 

Falsepride 
(sharply). 
Yea,  if  you  come  not  with  us.     Pilgrim,  choose! 

The  Little  Pilgrim 
(to  himself). 

The  dark  .    .    .   alone  ...   I  fear  my  way  to  lose! 
What  was  it  Courage  said — "  When  sore  dismayed 

[Moves  towards  table,  left. 
Take  up  this  broadsword — it  will  be  your  aid !  " 


124  A  LITTLE  PILGRIM'S  PROGRESS 

Anger. 
Enough!     Such  dallying  doth  make  me  rage. 
The  Little  Pilgrim 

(wheeling  suddenly,  sword  held  high,  stands  center, 

eyes  uplifted). 
I  fear  thee  not!     I  choose  my  Pilgrimage! 

Falsepride 
(in  a  low  voice). 
Let  us  be  gone! 

[They  vanish  almost  instantly 

The  Little  Pilgrim 

(turning  and  perceiving  they  have  gone  out  door  in 
background). 
So  swiftly  have  they  left! 
Of  friend  and  foe  alike  I  am  bereft. 
I'll  call  the  inn-wife,  (raises  voice)  Dame  Decision !  All 
Is  quiet  and  she  does  not  heed  my  call. 

(calls  again) 
Good  Dame!     'Tis  of  no  use.     I  must  prepare 
To  rest  me  here,  or  on  the  way  to  fare. 

[Crosses  to  table  right,  and  sits  down. 
Oh,  by  my  bitter  folly  now  I  know 
That  that  which  Knowledge  said  was  surely  so. 
If  one  would  choose  between  the  false  and  true 
Choose  not  by  what  folk  seem,  but  what  they  do. 
Knowledge  and  Courage  and  Steadfast  were  mine, 
These  I   forsook  for  Falsepride's  raiment  fine, 


A  LITTLE  PILGRIM'S  PROGRESS  125 

For   Faintheart's   flattery,    Selfishness'   greed, 
And  they  forsook  me  in  ray  utmost  need. 
Oh,  gentle  Steadfast,  thou  who  wert  so  true, 
I  lost  my  heart's  best  friend  in  losing  you! 

[Bows  head  on  arms. 
Steadfast 

(who    has   entered  softly,   steals   up   to    him   and   lays 

hand  on  his  shoulder). 
Nay,  did  you  think  so  far  from  you  I'd  wend, 
I,  who  had  promised  you  to  be  your  friend? 

The  Little  Pilgrim 
(much  moved). 
Ye  did  return! 

Steadfast. 
Aye,  for  my  heart  did  ache 
To  leave  you  friendless. 

The  Little  Pilgrim 
(with  shame). 

I  did  you  forsake, 
And  ye  forgive  it! 

Steadfast 
(smiling). 

'Tis  a  little  thing 
When  comrades  seek  the  City  of  the  King. 
Here  comes  the  inn-wife. 

[Enter  Dame  Decision,  left. 

Have  you  brought  a  light? 


126  A  LITTLE  PILGRIM'S  PROGRESS 

Dame  Decision 
(giving  lantern   to  Pilgrim). 
The  Lantern  of  Discernment,  shining  bright 
To  guide  your  footsteps. 

The  Little  Pilgrim 
(taking  it). 

Much  I  thank  you,  Dame. 

Dame  Decision 
(to  Pilgrim). 

Take  up  your  staff.     Fail  not  to  tend  the  flame  (indi- 
cates lantern). 

[The  music  of  Joyousness  is  heard  without. 
Now  speed  you  forth,  with  comrades  leal  to  dwell. 

[Exit  Pilgrim  and  Steadfast.     Dame  Decision 
stands  at  door  watching  them. 
They  take  the  path  together.     All  is  well! 


Curtain 


EPILOGUE 

Spoken  by  Dame  Decision 

Ye  who  have  listened  to  our  play, 

Beheld  the  Pilgrim  on  his  way 

And  seen,  how  by  Discernment's  light 

He  learned  at  length  to  choose  the  right, 

Mock  not  his  stumbling.     Vanity 

Hath  beguiled  stronger  ones  than  he. 

Pilgrims  along  the  selfsame  road 

Are  we,  with  wallet,  staff,  or  load. 

His  pitfalls  are  our  own.     Let  us  beware 

Selfish  enticements,  Falsepride's  silken  snare. 

Thus,  choose  ye  wisely  at  Decision's  Inn 

That  in  the  end  ye  happiness  may  win. 

Now,  friends,  good-night  and  pleasant  dreams  to  ye, 

And  thanks  for  your  full  gentle  courtesy. 


127 


COSTUMES 

Dame   Decision:   Blue-gray   robe.     White   cap   and 

Puritan  kerchief. 
Pilgrim  :  Trunk  hose  and  suit  of  russet,  slashed  with 

pale  blue.     Carries  a  staff.     The  suits  of  all  the 

Pilgrims  are  after  the  same  manner  of  the  pictures 

in  Bunyan's   "  Pilgrim's   Progress." 
Steadfast:  Old  rose  suit  and  hose. 
Knowledge:  Deep  purple  robe  falling  in  folds  like 

an  abbess's.     Purple  cloak. 
Courage:  Pale  gray  suit  and  hose.     Breastplate  and 

helmet  of  silver:  scarlet  plume  in  helmet.     Sword 

of  tempered  steel  at  waist. 
Joyousness:    White    robe    spangled    in    gold.      Pale 

green  cloak. 
Falsepride:   Brocaded   robe  of  many  colors.     Much 

jewelry.     Rose  colored  cloak. 
Selfishness:  Dress  of  black.     Black  cloak.     Girdle 

of  dark  green. 
Boastfulness:  Dull  green  suit  and  hose,  slashed  with 

black.     Brass  helmet  and  breastplate. 
Faintheart:  Suit  and  hose  half  of  one  color  and  half 

of  another — preferably  pale  blue  and  black. 
Anger:  Scarlet  suit,  and  scarlet  hose. 
Honesty:  Brown  suit  slashed  with  white.      Brown 

hose.     Peddler's  pack. 

128 


A  PAGEANT  OF  HOURS 


CHARACTERS 


The  Child 

The  Child's  Attendant 

First  Hour  (Dawn) 

Second  Hour   (Sunrise) 

Third  Hour 

Fourth  Hour 

Fifth  Hour 

Sixth  Hour  (Noon) 

Seventh  Hour 

Eighth  Hour 

Ninth  Hour 

Tenth  Hour  (Sunset) 

Eleventh  Hour  (Twilight) 

Twelfth  Hour  (Night) 


^Morning  Hours 


Afternoon  Hours 


A  PAGEANT  OF  HOURS 

(For  Children) 

Time:  Early  June  or  late  May. 

Scene:  A  greensward  bound  by  trees  and  flowers. 
In  the  left  background  a  half-ruined,  moss-grown 
shrine  on  which  stands  an  hour-glass.  The  pageant 
begins  by  the  First  Hour  in  gray  and  rosy  robes  enter- 
ing from  the  right  just  as  the  Child  breaks  through 
from  the  background,  wondering  and  hesitating.  They 
face  each  other  for  a  moment  in  startled  silence,  and 
after  this  throughout  all  the  pageant  the  Child  stands 
by  the  shrine,  looking  with  shy  wonder  at  the  Hours 
as  they  come  and  go.  The  First  Hour  coming  for- 
ward speaks. 

First  Hour 

(winningly). 

Little  mortal,  who  art  thou, 
With  thy  dreams  still  on  thy  brow? 
Hast  thou  left  thy  sleep  to  find 
Secrets  of  the  morning  wind? 

The  Child. 

While  'twas  dark  I  came  awake — 
Gray  with  vapor  was  the  lake, 
131 


132  A  PAGEANT  OF  HOURS 

All  the  world  lay  hushed  and  still, 
Dark  the  garden  and  the  hill. 
While  the  flowers  about  me  slept 
Through  the  dewy  grass  I  crept, 
Not  a  single  wing  went  by — 
Yet  I  came,  I  know  not  why, 
For  this  place  so  cool  and  green 
Ne'er  before  my  eyes  have  seen. 

First  Hour. 

Hidden  well  by  trees  and  flowers 
'Tis  the  Garden  of  the  Hours! 
Stay,  and  thou  shalt  see  them  pass 
Here  before  thee  o'er  the  grass. 
Hours  of  blue  and  gold  they  be, 
Each  one  bringing  gifts  to  thee. 
Listen  well  and  thou  shalt  know 
As  the  fleet  hours  come  and  go 
How  to  prize  the  gifts  they  bear, 
For  they  bring  thee  all  things  fair. 
I  am  Dawn.     To  thee  I  bring 
Drowsy  bird  notes,  brush  of  wing, 
Wind  that  shivers  through  the  trees 
And  a  thousand  mysteries — 
Things  half-murmured  by  the  brooks, 
Deeper  than  the  lore  of  books, 
Whiter  than  the  morning  star 
Fading  where  my  banners  are. 
Breaking  East  on  land  and  sea — 
These  the  gifts  I  bring  to  thee ! 


A  PAGEANT  OF  HOURS  133 

[Exit  First  Hour,  left.  The  Child  stands  by 
ruined  shrine  in  background  as  the  other 
Hours  defile  before  it.  As  soon  as  one  Hour 
exits  another  Hour  appears  upon  the  scene. 
As  the  First  Hour  goes,  the  Second  Hour 
enters,  clad  in  rosy  robes. 

Second  Hour 

The  end  of  the  dark — the  song  of  the  lark — 

These  do  I  bring  thee!     The  sun's  gold  I  fling  thee! 

I  slip  through  each  portal,  I  glint  in  thine  eyes 

Crying  "  Up,  little  mortal,  the  day's  in  the  skies, 

And  there's  much  to  be  done  ere  the  setting  of  sun, 

So  hasten !     O,  hasten !     How  swift  the  hours  run !  " 

I'  bring  thee  the  perfumes  of  wood  and  of  field, 

All  the  opening  flowers  yield, 

And  warm  scents  from  each  furrow 

Where  shy  creatures  burrow, 

All  the  stir  and  the  whir  of  a  million  of  wings, 

All  the  joy  sunrise  brings. 

The  gossamer  laces  that  lie  at  thy  feet, 

The  hunger  that  sweetens  the  bread  that  ye  eat 

Making  its  savor  e'en  fit  for  a  king — 

These  are  the  gifts  that  I  hasten  to  bring. 

[Exit  Second  Hour, 
Third  Hour 
(entering,  robed  in  cloud-white  with  touches  of  gold). 

Heed  me!     I  am  swift  to  pass 
As  a  shadow  o'er  the  grass. 


n34  A  PAGEANT  OF  HOURS 

All  my  moments  cherish  well, 
Each  one  holds  a  golden  spell. 
I,  the  task  hour,  bring  to  thee 
Golden  Opportunity. 

[Exit  Third  Hour. 
Fourth  Hour 

(entering,  clad  in  cloud-white  and  sky  blue). 
Soft  I  come  and  soft  I  go, 
Ere  I  pass,  O  mortal,  know 
That  I  give  thee  power  to  look 
Wisely  in  thy  lesson  book. 
Time  gone  by  and  Time  to  be, 
Heed  the  gift  I  bring  to  thee! 

[Exit  Fourth  Hour. 
Fifth  Hour 
(entering,  clad  in  robes  of  cloud-white  with  draperies 
of  deep  sky). 
Me  behold,  a  working  hour, 
Full  of  promise  and  of  power, 
Let   me  not   slip   idle  by, 
For  I  bring  thee  guerdon  high. 
Building  well  ye  build  with  me 
For  the  days  that  are  to  be. 

[Exit  Fifth  Hour. 
Noon 

(entering  with  clash  of  cymbals,  and  wearing  a  robe 
of  cloth  of  gold). 
I  am  Noon! 
I  bring  the  tune 


A  PAGEANT  OF  HOURS  135 

Of  a  thousand  droning  bees 
Carried  faintly  by  the  breeze, 
Sweet  and  drowsy  harmonies, 
And  the  endless  croon  and  rune 
Of  the  myriad  things  that  pass 
Through  the  forests  of  the  grass- 
Till  my  heat  doth  hush  and  blur 
All  the  murmur  and  the  stir; 
And  the  bird  with  tawny  throat 
Pauses  on  a  half-sung  note. 
Would  you  know  what  wisdom  is 
Hearken    to   my   silences. 
Power  to  listen  and  to  see — 
These  the  gifts  I  bring  to  thee. 
Hill  and  meadow,  wood  and  dune 
Hold  my  secrets.     I  am  Noon! 
[Exit  Noon  with  another  clap   of  cymbals. 

Seventh  Hour 
(entering,  clad  in  robe  of  deepest  sky  blue). 
I  am  the  first  of  the  afternoon  hours, 
Dappled  with  sunshine  and  scented  with  flowers. 
Learn  with  me,  turn  with  me  page  after  page: 
Endless  my  bounty  and  splendid  my  wage. 

[Exit  Seventh  Hour. 

Eighth  Hour 
(entering,  clad  in  robes  of  pale  sky  blue  and  white). 
Long  are  my  moments,  yet  golden  each  one, 
Sweet  as  the  tinkle  of  slow  brooks  they  run. 


136  A  PAGEANT  OF  HOURS 

Measure  me,  treasure  me,  let  me  not  go 
Ere  I  have  yielded  thee  all  thou  shouldst  know! 

[Exit  Eighth  Hour. 

Ninth  Hour 

(entering,   robed   in    blue,   so   pale   that   it   is   almost 
white). 
Dust  of  the  roadway,  fragrance  of  clover, 
Come  I  to  tell  thee  task  hours  are  over. 
Stray  with  me,  play  with  me,  shadow  and  sun 
Are  thine  for  the  asking!     Task  hours  are  done! 

[Exit  Ninth  Hour. 

Tenth  Hour 
(entering,   violet   robed,  with    touches   of  gold). 
I  bring  the  robin's  sunset  note — 
Echoes  that  through  the  clear  air  float. 
The  homing  sounds  of  beast  and  bird, 
Of  shy  brown  wren  and  lowing  herd; 
While  in  the  Western  sky  I  set 
Like  a  flaming  parapet 
Clouds  of  rose  and  violet. 
Gaze  at  them  and  they  shall  seem 
Like  wondrous  countries  of  a  dream. 
Golden  crags  and  boulders  piled 
By  some  sea-coast  strange  and  wild, 
Or  gardens  rosy  with  new  flowers, 
Or  cities  with  a  hundred  towers, 
Or  only  flocks  with  fleece  of  gold 
Crossing  to  their  azure  fold. 


A  PAGEANT  OF  HOURS  137 

Power   to    fashion    dreamily 

Is  the  gift  I  bring  to  thee. 

[Exit  Tenth  Hour.  Eleventh  Hour  enters 
very  slow  and  stately,  with  finger  on  lip, 
wearing  trailing  gray  robe  and  silver  sandals. 

Eleventh  Hour. 

Soft,  with  nnger  on  my  lip, 
Through  sunset's  closing  gate  I  slip, 

Mystic,  slow. 
From  the  marshes  comes  a  chir, 
And  from  night  bird's  nests  a  stir 

As  I  go, 
And  my  trailing  garments  fold 
Like  a  silvery  mist  is  rolled, 

Faint  and  gray; 
And  I  close  the  starry  eyes 
Of  each  flower  that  near  me  lies 

As  I  stray. 
Blurring  shadows,  falling  dew, 
Scents  that   daylight   never  knew   .    .    . 

Fern  and  grass   .    .    . 
Hushed  song  and  folded  wing! 
Take  the  wonder  that  I  bring 

Ere  I  pass. 

[Exit  Eleventh  Hour.  The  Twelfth  Hour 
enters  with  round  golden  moon  held  high 
in  hand.  The  Child  drowses  by  the  ruined 
shrine. 


138  A  PAGEANT  OF  HOURS 

Twelfth  Hour 
(robed  in    black   with   touches   of  gold), 

I,  the  night  hour,  solemn,  deep,  • 

Bring  to  thee  the  gift  of  sleep, 

And  if  well  thy  hours  were  spent, 

To  that  gift  I  add  content, 

And  the  fairest  dreams  there  are, 

Each  one  shining  as  a  star!    • 

While  within  the  sky  above 

High  I  set  my  lamp  of  love  (raises  moon) 

There  to  shine  till  raise  of  sun, 

Till  thy  dream-voyage  be  done. 

Little  mortal  rest  thee  well, 

Thou  hast  learned  the  wondrous  spell 

That  the  hours  do  weave  for  thee 

Coming,  going,  endlessly. 

Learned  what  all  their  moments  make, 

Learned  their  gifts  to  prize  and  take. 

Disdain  us  and  we  master  thee, 

Command  us  and  thy  slaves  we  be. 

Dream,   then,    for  naught   shall   come  nigh, 

Dream  till  dawn  be  in  the  sky! 

I,  the  night  hour,  solemn,  deep, 
-     Give  to  thee  the  gift  of  sleep. 

[Child  drowses.  Twelfth  Hour  with  moon 
held  high  stands  guard  at  left.  The  Child's 
Attendant  enters,  sees  Child,  and  runs  to 
the  place  where  Child  is  drowsing,  without 
ever  once  seeing  the  Twelfth  Hour  who 
stands  silent. 


A  PAGEANT  OF  HOURS  139 

The  Child's  Attendant 
(tenderly   stern). 
Where  hast  thou  been?     All  day  I  sought  for  thee. 
Yet  when  I   called  thou  didst  not  answer  me. 

The  Child 

(rising  and  leaning  against  her  very  sleepily  as  they 

go   to  exit,  left). 
I  heard  thee  not. 

The  Child's  Attendant. 

I  searched  the  woods,  the  bowers, 
The  fields, — while  thou 

The  Child 
(dreamily,  with  face  uplifted). 

I  learned  to  know — the  Hours! 

[The    Child   and   the    Child's   Attendant   exit 

left,  slowly,  while  the  Twelfth  Hour  passes 

after  their  exit  to  the  right.     The  stage  is 

thus  left  empty  and  the  play  ends. 


COSTUMES 

All  the  costumes  are  Grecian,  soft  and  flowing.     As 
all  the  children  taking  part  in  the  pageant  are  girls 
their  robes  are  along  the  lines  of  small  goddesses. 
The   Child:    Little  Greek   robe   of  white,   sandals, 

chaplet  of  green  leaves  on  head. 
The  Child's  Attendant:  Greek  robe  of  pale  green. 

Green  bands  across  hair. 
The  First  Hour  (Dawn)  :  Pale  gray  robe  over  robe 

of  faint  pink.     Pink  sandals. 
Second  Hour  (Sunrise) :  Robe  of  deepest  pink,  with 

draperies  of  pink  gauze.     Golden  fillet  on  hair. 
Third  Hour:  Pure  cloud  white  robe,  with  draperies 

of  gold  tissue. 
Fourth   Hour:  White  robe  with   draperies  of  sky 

blue. 
Fifth  Hour:  White  robe  with  trailing  draperies  of 

deep  sky  blue. 
Sixth  Hour  (Noon):  Robe  of  cloth  of  gold  (or  of 

sunlight  yellow)    golden  sandals,  and  golden  fillet 

across   hair.     Carries   brass   cymbals   in   hand. 
Seventh  Hour:  Robe  of  deepest  sky  blue. 
Eighth  Hour:  Robe  of  paler  sky  blue  with  draperies 

of  white  gauze,  cloud-like. 
Ninth  Hour:  Robe  of  very  pale  blue — almost  white. 
140 


COSTUMES  141 

White  gauze  faintly  spangled  with   gold   drifting 

about    the    robe   like   a  cloud    fleece.     Wreath   of 

white  clover  on  hair. 
Tenth  Hour:  Violet  robe.     Draperies  of  gold  tissue 

— the  colors  of  sunset. 
Eleventh  Hour  (Twilight)  :  Deep  gray  robe,  longer 

and  more  trailing  than  any  of  the  others.     Silver 

sandals.     Gray    gauze    draperies   with    touches   of 

silver  glinting  through. 
Twelfth  Hour  (Night)  :  Black  robe  spangled  with 

silver  and   dull   gold.      Black  sandals.      Fillet  of 

stars.     Carries  large  round  golden  disk  to  represent 

the  full  moon. 
The  pageant  should  be  done  in  a  stately  fashion,  the 
;mall  figures  moving  with  measured  step  across  the 
grass.  With  a  stage  covered  with  green  baize  and 
potted  plants  it  is  perfectly  possible  to  give  the  play 
an  indoor  production.  For  a  more  elaborate  produc- 
tion indoors  colored  lights  may  be  used — rosy  for  the 
dawn,  strong  golden  light  for  noon,  violet  for  the 
dusk,  etc.,  down  to  the  darkness  and  pale  moonlight 
of  the  ending.  For  schoolroom  use  the  play  may  be 
given  either  with  the  fanciful  costumes,  or  with  every- 
day ones.  If  the  former  way  is  desired  the  robes  can 
be  easily  and  simply  fashioned  of  cheesecloth ;  or,  lack- 
ing these,  to  the  dress  of  everyday  may  be  added  crown 
and  stars  for  each  of  the  Hours  with  the  symbolical 
colors — gold,  silver,  blue,  white,  gray,  etc. 


ON  CHRISTMAS  EVE 


CHARACTERS 

The  Little  Girl 

Wendy 

Crusoe 

Alice 

Hansel 

Gretel 

The  Traveler  from  Bagdad 

The  Boy  from  the  Back  of  the  North  Wind 

The  Hush-a-bye  Lady 

The  Little  Girl's  Mother 

Santa  Claus 


DRAMATIC  DIRECTIONS 

The  window  which  the  play  calls  for  can  be  made 
by  building  a  frame  of  laths  3x3,  and  stretching  across 
it  dark  brown  cambric.  Cut  a  square  in  the  cambric 
the  size  of  a  window.  Across  the  upper  part  of  this 
fasten  a  curtain  on  a  draw  string — fixed  so  it  can  be 
drawn  aside.  On  the  side  of  the  window  which  the 
audience  does  not  see  place  a  chair  on  which  Wendy 
can  stand.  Wendy  cam  then  step  from  one  to  the 
other  through  the  window  quite  easily,  and  give  the 
effect  of  flying.  If  this  cannot  be  done,  Wendy  can, 
of  course,  knock  at  the  door,  and  enter  as  the  other 
characters  do.  The  fireplace  should  be  made  of  dry- 
goods  boxes  as  described  in  the  preceding  plays,  and 
give  ample  space  for  the  entrance  of  Santa  Claus.  The 
Little  Girl  wears  her  usual  everyday  clothes.  Direc- 
tions for  more  elaborate  costumes  follow;  but  if  little 
trouble  and  schoolroom  simplicity  is  desired  they  can 
be  gotten  up  most  easily.  The  boy  who  plays  Crusoe 
can  borrow  fur  scarfs  and  have  them  hanging  about  his 
shoulders  and  waist.  Out  of  brown  cambric  he  can 
make  such  a  belt  and  pouch  pocket  as  Crusoe  wore. 
Alice  should  wear  a  dainty  little  white  Swiss  apron, 
and  a  pretty  cloak.  Gretel  should  have  a  cap  and 
apron  to  which  is  basted  a  deep  red  border.  HanseJ 
i45 


i46  .  DRAMATIC  DIRECTIONS 

a  red  cap  and  red  muffler.  Bagdad  Traveler  should 
wear  a  turban  of  some  gay  stuff  wound  round  his 
head.  Let  him  borrow  a  Kimona,  and  wear  it  as  a 
flowing  East  Indian  robe — only  be  sure  that  it  is  not 
a  Japanese  Kimona — it  should  be  of  a  solid  color,  or 
at  least  of  some  pattern  that  does  not  too  much  suggest 
the  flowery  kingdom.  Let  him  borrow,  too,  if  pos- 
sible, a  pair  of  Turkish  slippers  with  turned  up  toes. 
The  boy  from  the  Back  of  the  North  Wind  should 
wear  his  overcoat,  fur  cap,  and  ear  muffs.  The  Hush- 
A-Bye  Lady  a  crown  of  tissue  paper  or  artificial  pop- 
pies, and  a  white  drapery  of  cheese-cloth  or  even  a 
sheet — so  it  has  flowing  lines.  For  Santa  a  bath  robe 
with  a  cord,  plumply  stuffed  but,  and  a  ruddy  mask 
with  its  white  beard.  A  red  cap  on  head.  Directions 
for  a  more  elaborate  production  follow. 


ON  CHRISTMAS  EVE 

The  scene  is  a  bare  living  room  with  a  few  chairs. 
At  the  left  a  fireplace  with  scant  embers  glowing  in  it. 
Above  it  a  shelf  with  a  couple  of  tin  candlesticks  con- 
taining unlighted  candles.  From  the  mantelshelf 
hangs  a  stocking.  In  the  background,  towards  the 
left,  a  window  curtained  in  cheap  flowered  cambric. 
Through  it  is  caught  a  glimpse  of  a  crisp  and  snowy 
night  outside. 

In  the  right  background  a  door  opening  on  the  out- 
side. 

Against  the  right  wall  a  plain  deal  table. 

Near  the  center  of  the  room  a  battered  lounge  with 
an  old  shawl  neatly  folded  and  lying  across  its  foot. 

At  the  rise  of  the  curtain  the  Little  Girl  is  lying 
on  the  floor  near  the  hearthstone,  her  head  propped 
on  her  hand,  a  book  spread  out  before  her.  After  a 
'econd  she  closes  the  book  and  rubs  her  eyes. 

The  Little  Girl. 

r 

The  fire's  growing  so  dim  I  can't  see  to  read  any 
longer,  and  Mother  won't  be  home  for  hours  yet.  I 
daren't  light  the  candles  for  candles  cost  so  much  and 
there's  no  money  to  pay  for  ttiem;  so  all  I  can  do  is 
to  sir  hy  the  fire  and  think.  (Wind  wails  without.) 
U7 


148  ON  CHRISTMAS  EVE 

There's  the  wind,  sighing  and  singing  to  keep  me 
company  on  Christmas  Eve.  When  it  blows  like  that 
it  always  seems  as  i"f  it  had  something  it  wanted  to 
tell  me  about  far  off  countries  that  I've  never  seen, 
about  streets  with  white  palaces,  like  the  Arabian 
Nights,  and  islands  with  coral  shores,  and  palm  trees 
thick  as  feather  dusters.  (Dreamily.)  And  then — the 
wonderful  people — Crusoe  and  Aladdin  and  the  Snow 
Queen  and  Peter  Pan  and  Wendy — Especially  Wendy! 
I've  loved  them  for  so  long,  and  thought  about  them 
so  much — Oh,  how  I  wish  that  I  might  see  them! 
(Vehemently.)  Oh,  how  I  wish  that  they  were  real, 
and  that  they  would  come  to  me  in  any  way  they  could ! 
(A  rasping  sound  at  the  window  without.)  Why, 
what's  that?  (Listens.)  Nothing!  Only  the  wind 
playing  tricks  in  the  chimney.  (Another  rasp.)  That's 
more  than  the  wind.  ^-That's  some  one  trying  to  get  in. 
(Timidly.)     I — I  believe  I'm  half  afraid — and  yet — 

and  yet (Courageously.)     How  silly  of  me!     It 

may  be  only  a  dead  branch  tapping  at  the  pane,  or  a 
bit  of  icicle  that  has  snapped  and  fallen.  (Goes  to 
window.)  Of  course  I'll  open  it  and  see !  (She  stands 
by  window.  Business  of  opening  it.  A  great  gust  of 
wind,  and  Wendy  tumbles  over  the  sill,  breathless,  with 
her  broom  in  her  hand.) 

The  Little  Girl 
(half  amazed,  half  rapturous). 

W-h-y — it's  some  one  flying  on  a  broomstick!     Oh, 
my  wish!     It  has  come  true!     It  has  come  true! 


ON  CHRISTMAS  EVE  149 

Wendy 

(pausing  to  shake  off  snow). 
Of  course  it's  come  true!  But  I  thought  I  should 
never  make  you  hear  me.  I  don't  know  what  I  should 
have  done,  if  you  hadn't  opened  the  window.  You 
see,  its  such  a  blustery  night  that  for  a  moment  I  com- 
pletely lost  my  bearings.  I've  just  been  to  take  a 
Christmas  dinner  to  Peter  Pan,  and  see  that  he  has  a 
snug  fire  built  in  his  little  house  in  the  tree  tops. 

The  Little  Girl. 

Peter  Pan!  Why,  you  must  be  Wendy!  Oh, 
Wendy,  I  was  just  wishing  you  were  real. 

Wendy 
(stoutly). 

Real!  Why,  of  course  I'm  real!  I  come  from  the 
Country  of  Imagination,  and  that's  the  realest  place 
there  is,  anywhere!  You  know  that  the  things  you 
sometimes  think  unreal  are  often  the  realest  things 
there  are. 

The  Little  Girl. 

But — Wendy — tell  me.  How  did  you  know  I 
wanted  you? 

Wendy 

(matter-of-factly) . 
Because  I  met  a  wish  flying  through  the  air. 


150  ON  CHRISTMAS  EVE 

The  Little  Girl 
(utterly  dumfounded). 
A  wish — flying  through  the  air! 

Wendy. 

Why,  yes.  Dear  me,  haven't  you  ever  heard, 
haven't  you  ever  learned  that  wishes  are  the  most 
wonderful  messengers  there  are?  And  that  if  you 
wish  for  a  thing  long  enough  and  hard  enough  it 
comes  true  at  last!     That  is,  if  you  work  for  it,  too! 

The  Little  Girl 
(incredulously). 
But  I  haven't  worked  for  this ! 

Wendy. 

Oh,  yes,  you  have.  In  hundreds  and  hundreds  of 
ways.  You  had  to  learn  to  read  before  you  could  get 
acquainted  with  us  at  all — and  you  tried  very  hard  to 
become  acquainted  with  us,  didn't  you !  And  then  you 
sent  a  wish.  Oh,  it's  a  wonderful  thing  to  see  the 
wishes  flying! 

The  Little  Girl 

(evincing  great  interest). 

Do  they  all  look  alike? 

Wendy. 

Good  gracious,  no!  They're  as  different  as  people 
are.     Ugly  wishes  are  dark,  like  bats;  but  beautiful 


OX  CHRISTMAS  EVE  151 

wishes  are  like  birds,  or  flying  flowers,  or  stars  on  their 
way  through  the  dark. 

The  Little  Girl. 

But  the  way  is  so  long — I  should  think  they'd  get 
broken  or  lost! 

Wendy. 

Oh,  no.  They  are  the  strongest  things  there  are. 
At  least,  some  of  them.  Weak  and  wobbly  wishes 
never  go  far.  They  just  flutter  and  fall  and  drop  to 
the  ground,  and  I  never  count  them  as  truly  wishes  at 
all.     (Takes  up  her  broom.) 

The  Little  Girl 
(alarmed). 

Dear  Wendy — you're  not  going?  I  wanted  you  so 
much  to  stay.     It's  Christmas  Eve  and  I'm  so  lonely! 

Wendy 

(incredulously). 
Lonely!     On  Christmas  Eve! 

The  Little  Girl. 

You  see  my  mother  hasn't  come  home  from  work 
yet,  and  I'm  waiting  for  her. 

Wendy. 

What  time  does  she  generally  arrive? 


152  ON  CHRISTMAS  EVE 

The  Little  Girl. 

Six  o'clock  week  days,  but  on  holidays  not  till  eleven. 

Wendy 

(slowly). 

Eleven !     (Suddenly  brightening.)    Why,  that  would 
give  us  plenty  of  time! 

The  Little  Girl. 
Time? 

Wendy. 
For  a  party! 

[Wendy  crosses  to  fire  and  puts  a  little  more 
coal  on;  warms  her  hands  a  moment,  and 
then  begins  to  fasten  most  securely  her  hood 
and  flying  cape,  meantime  carrying  on  an 
animated  conversation  with  the  Little  Girl. 


A  party? 


The  Little  Girl 
(bewildered). 


Wendy. 

Don't  you  know  that  people  always  have  parties  on 
Christmas  Eve? 

The  Little  Girl 
(wistfully). 
I've  never  had  one.     But  perhaps  that's  because  I 
don't  know  any  people  to  invite.     Yet  even  if  I  did 
there's  nothing  here  to  eat  but  bread  and  potatoes. 


ON  CHRISTMAS  EVE  153 

Wendy 
(indignantly). 
Eat!  It's  only  stupid  people  who  go  to  parties  to 
eat.  And  as  for  guests — there  are  those  who  are 
always  ready  to  make  happy  the  hours  of  the  very 
loneliest  of  children.  What  would  you  say  to  Robin* 
son  Crusoe  and  Alice-in-Wonderland  and 

The  Little  Girl. 
Oh,  Wendy! 

Wendy 

(nodding). 
I  thought  you'd  only  forgotten  them!  Now  sit 
down  in  that  chair  and  wait  for  me  till  I  come  back. 
(Takes  up  broom.)  You  can't  imagine  what  con- 
venient things  broomsticks  are  once  you've  learned  to 
fly.     (Goes  to  window.) 

The  Little  Girl 
(much  mystified). 
But  where  are  you  going? 

Wendy 
(laughingly,  as  she  climbs  out). 
To  deliver  the  invitations! 

[Exit  Wendy. 
The  Little  Girl. 
There  she  goes,  flying  over  the  tree-tops!     Oh,   I 
wonder  if  it's  all  a  dream,  or  if  I'm  really  to  have  a 


154  ON  CHRISTMAS  EVE 

party — if  I'm  really  to  see  Robinson  Crusoe  and — (A 
knock  on  the  outside  door.)  What's  that?  (Another 
knock.)  It  surely  can't  be  Wendy  back  again !  (Runs 
to  door  and  opens  it.  Alice  appears  upon  threshold.) 
Why,  Alice! 

Alice 

(entering). 
I  was  just  running  home  from  Wonderland  when  I 
met  Wendy,  and  she  directed  me  right  to  your  door. 
The  March  Hare  and  the  Hatter  wanted  to  come,  too, 
but  I  wouldn't  let  them.  They  always  talk  so  much 
that  no  one  else  can  get  a  word  in  edgewise. 

The  Little  Girl. 

Won't  you  sit  by  the  fire?     I  wish  it  was  burning 
brighter. 

Alice 

(seating  herself  comfortably). 
Oh,  I  like  it  just  as  it  is.     It  looks  as  it  sometimes 
does  in  our  grate  at  home.     (With  a  sigh  of  content.) 
I'm  very  fond  of  the  firelight  country. 

The  Little  Girl 

(puzzled). 
The  Firelight  Country 

Alice. 

Yes.     Don't  you  know?     But  perhaps  you've  never 
looked  at  a  fire  that  way.     When  you've  learned  tff 


ON  CHRISTMAS  EVE  15$ 

it's  just  like  fairyland!  There  are  black,  black 
dungeons  and  golden  lakes  and  ruby  towers  and  trees 
with  jewels  hanging  thick  as  fruit.  Ah,  one  doesn't 
have  to  travel  to  see  wonders.  One  can  have  them 
here  at  home. 

[A  knock  at  the  outer  door. 

The  Little  Girl 
(delightedly). 
That  must  be  the   rest  of  the  party  beginning  to 
come.    • 

Alice. 

I  think  it's  Robinson  Crusoe.     I  passed  him  on  the 
way. 

The  Little  Girl 
(opening  door). 
Good  evening,  Mr.  Crusoe! 

Crusoe 
(entering,  with  a  parrot  in  a  cage). 
Good  evening,  my  dear  little  girl!     Good  evening, 
(Vliss  Alice.     Wendy  says  that  you  are  expecting  me. 

Alice 
(rising). 
Take  this  chair  by  the  fire,  Mr.  Crusoe.     How  is 
your  man  Friday? 

Crusoe. 

Friday   is  in  excellent  health,    I   thank  you,   Miss 


156  ON  CHRISTMAS  EVE 

Alice!  He's  still  on  the  island,  but  I'm  bringing  the 
parrot  with  me.  (Puts  parrot  on  table,  right,  and 
then  goes  to  seat  by  fire.  Alice  and  the  Little  Girl 
join  him.) 

The  Little  Girl. 

Please,  Mr.  Crusoe,  won't  you  tell  us  a  story?  I'd 
love  to  hear  some  more  of  your  adventures. 

Crusoe. 

Adventures?  Bless  my  heart!  Well,  let  *ne  see. 
Once  upon  a  time  .  .  .  (A  knock  on  the  door.)  Once 
upon  a  time  when  I   ...    (A  louder  knock.) 

The  Little  Girl 
(politely). 
I  believe  that's  another  knock  on  the  door! 

Alice. 
I'll  open  it. 

The  Little  Girl. 

Mercy,  what  a  blast  of  cold  air! 

Alice. 

I  don't  wonder.  You  see  it's  the  Boy  from  the 
back  of  the  North  Wind !     (He  enters.) 

The  Little  Girl. 
What  a  long,  long  way  you  must  have  blown! 


ON  CHRISTMAS  EVE  157 

The  Boy 

(breathlessly). 

'  Wait  just  a  minute!     Don't  close  the  door!    There's 
a  tall  dark  man  coming,  wearing  the  strangest  clothes. 

The  Little  Girl 
(estatically,  after  looking  out  the  door). 
It's  the  Traveler  from  Bagdad! 

[  The  Traveler  from  Bagdad  enters  and  salaams 
deeply  a  great  number  of  times.  The  Little 
Girl,  not  to  be  outdone  by  him  in  manners, 
follows  his  example,  bowing  till  she  is  quite 
out  of  breath.  He  carries  with  him  a  huge 
roll  of  carpet. 

The  Little  Girl 

(aside  to  Alice,  as  the  Traveler  ceases  his  salaams). 

There!     He's  stopped  at  last!     It  must  be  dread- 
fully tiring  to  meet  with  friends  in  Bagdad. 

The  Bagdad  Traveler 

(with  another  salaam). 

Blessings  be  upon  this  house  from  the  first  hour  of 
the  day  until  the  twelfth. 

The  Little  Girl 
(indicating  carpet). 
Is  that 


158  ON  CHRISTMAS  EVE 

The  Bagdad  Traveler. 
That's  the  magic  carpet  on  which  I  travel.  And  as 
I  was  floating  over  the  roofs  of  Europe  what  should 
I  see  but  a  boy  and  girl  trudging  along  hand  in  hand. 
At  first  I  thought  they  might  be  the  children  of  Sinbad 
the  Sailor — Sinbad's  children  are  great  rovers,  you 
know — they  take  after  their  father;  but  it  turned  out 
they  were  two  little  folk  named  Hansel  and  Gretel,  so 
I  asked  them  to  come  with  me,  and  here  they  are! 
(Unrolls  his  magic  carpet,  and  Hansel  and  Gretel  roll 
out,  chubby  and  merry  looking.) 

The  Little  Girl 
(gazing  at  them). 

What  a  darling  little  cap !     And  what  cunning  little 
shoes ! 

Hansel. 

At  Christmas  time  Kriss  Kringell  puts  presents  in 
our  shoes  instead  of  in  our  stockings! 

Gretel. 
Will  you  not  have  some  of  my  candy?  It  is  from 
the  Witch's  house  that  we  found  in  the  wood.  Ach! 
It  was  such  a  house!  All  candy!  Hansel,  he  is  still 
eating  a  piece  of  the  door  and  this  is  a  piece  of  the 
roof! 

[The  various  groups  talk  and  gesticulate  in 
pantomime:  Hansel  and  Gretel  and  the  Lit- 
tle Girl,  center;  Alice  and  the  Boy  by  the 
table. 


OX  CHRISTMAS  EVE  159 

Crusoe 
(to  the  Bagdad  Traveler). 
I  am  glad,  sir,  to  meet  such  a  distinguished  fellow 
traveler.     What  is  the  latest  news  from  Aladdin  and 
the  Caliph?      (Sound  of  something  brushing  against 
the  window.) 

The  Little  Girl 
(eagerly). 
That's  Wendy  back  again !     (Opens  the  window  as 
before  and  Wendy  enters.) 

Wendy. 

Peter  Pan  sent  regrets.  He  was  giving  a  party  to 
the  fairies  and  couldn't  come.  Tinker  Bell  wouldn't 
let  him. 

The  Little  Girl. 

I'm  sorry  about  Peter,  but  O  Wendy,  it's  such  a 
beautiful  party,  and  I'm  having  such  a  splendid  time! 
(Turns  and  perceives  the  Rock-a-Bye  Lady,  who  has 
entered  unobserved.)  .  Look!  there's  another  guest, 
Wendy,  and  I  didn't  even  hear  her  when  she  entered. 
She  slipped  in  as  quietly  as  a  snowflake.  (Going  for- 
ward, half-shyly.)  You're  very  beautiful,  and  I'm 
glad  you've  come  to  my  party,  but  I  don't  believe  1 
know  who  you  are. 

The  Hush-a-Bye  Lady 

(quite   tenderly). 
Don't  you,  my  sweet?     Ah,  you  should  know,  for 


i6o  ON  CHRISTMAS  EVE 

I've  been  coming  to  you  every  night  for  years  and 
years;  summer  and  winter,  week  days  and  holidays. 
(As  she  speaks  she  leads  the  Little  Girl  to  the  shabby 
sofa  and  seats  herself  beside  her.) 

The  Little  Girl 
(drowsily,  her  head  against  the  Lady's  shoulder). 
About — what — time — do — you — usually — come? 

The  Hush-a-Bye  Lady 
(lullingly). 

I  come  when  the  night  wind  wakes,  and  when  the 

little  stars  are  lit  like  candles  all  across  the  sky.     I 

come  when  the  nickering,  creeping  shadows  say,  "  Day 

is  over,  Day  is  over.     Time  for  weary  heads  to  rest." 

[The  Little  Girl  nods  as  the  Lady  speaks,  and 

finally  sleeps.     The  Lady  rises  gently,  letting 

the  Little  Girl  lie  full  length  on  the  sofa, 

and  covers  her  with  the  worn  shawl.     Then 

she    stands    a    moment,   face    uplifted,   and 

finger  on  lip.     All  listen.     Faint  and  then 

nearer  grow  the  bells  of  Santa  Claus.     A 

rattling    of    hoofs    overhead.      Ruddy    and 

beaming  he  comes  down  the  chimney. 

Santa  Claus. 
Oho!     What  is  this  I  see?     Nobody  warned  me  of 
any  party!     Merry   Christmas,  everybody.     The  sea- 
son's greetings  to  you,  Mr.  Crusoe.     (Sees  the  Little 
Girl  fast  asleep.)     Fast  asleep,  is  she? 


ON  CHRISTMAS  EVE  161 

Wendy 
(anxiously). 
Yes,  but  there's  her  stocking. 

Santa  Claus 
(chuckling  with  suppressed  mirth). 

Did  you  think  I'd  forget  that?  (He  starts  to 
fill  stocking  and  then  pauses.  Beckons.)  Come  here, 
Wendy!  (He  whispers  to  Wendy.  Her  face  shows 
dawn  of  rapturous  idea.) 

Wendy. 

He  says  we  must  bring  her  a  Christmas  tree. 

Santa  Claus. 

Where's  the  Boy  from  the  back  of  the  North  Wind  ? 
(Boy  comes  forward.)  He's  the  one  to  fetch  the  tree. 
He  knows  all  about  the  pines  and  where  the  Christmas 
firs  grow,  don't  you? 

The  Boy. 

Yes,  sir. 

Santa  Claus. 

Then  off  with  you ! 

Wendy 

(beaming  and  clasping  her  hands). 
Oh.  Santa! 


i62  ON  CHRISTMAS  EVE 

Santa  Claus 

(with  upraised  finger). 
S-sh! 

The  Hush-a-Bye  Lady 
(smiling). 

No  fear  of  waking  her.  I've  put  her  too  soundly 
asleep  for  that. 

Santa  Claus 
(his  eyes  twinkling  as  he  fills  stocking). 

Madam,  I  owe  you  a  debt  of  gratitude.  You  and  I 
have  been  working  in  unison  these  many  years,  and  it's 
very  seldom  that  you  fail  me. 

The  Boy 

(entering  with  tree,  assisted  by  Crusoe  and  Traveler). 
Here  it  is,  Santa.     (They  stand  it  over  by  the  fire- 
place.) 

Santa  Claus. 

Bless  my  soul!  It's  a  fine  tree!  Now,  what  shall 
we  trim  it  with?  For  I've  already  filled  her  stocking, 
and  you  know,  if  I  rob  my  pack  it  won't  be  fair  to 
the  other  boys  and  girls. 

Crusoe 

(delving  into  his  pockets). 

Here,  sir,  are  some  nuts  and  dates  from  my  Desert 
Island. 


ON  CHRISTMAS  EVE  163 

Hansel. 

And  here  is  more  candy  from  the  candy  house  we 
found  in  the  wood.  (Santa  Claus  takes  gifts  and 
trims  tree.) 

Gretel 

(eagerly). 

You  must  take  my  candy,  too. 

The  Bagdad  Traveler 

(taking  off  various  chains  and  trinkets  with  which  his 
costume  and  turban  are  adorned). 

These  will  remind  her  of  the  Arabian  Nights. 

Alice 

(taking  off  her  quaint  little  Lewis  Carrol  apron). 

I  am  afraid  all  I  can  give  is  this  apron.  I'm  ft, 
sorry,  for  aprons  aren't  very  interesting.  But  in  the 
pocket  there's  a  little  cake — a  frosted  cake  from  thf 
March  Hare's  tea  party. 

The  Boy. 
And  as  nothing  but  ice  grows  at  the  back  of  the 
North  Wind,  I'll  have  to  contribute  frost  work. 

[Gives  white  cotton  batting  sprinkled  with  glit- 
tering dust. 

Wendy. 

Here  are  some  candles  I  was  taking  to  Peter  Pan. 
He  won't  miss  them  in  the  least. 


164  ON  CHRISTMAS  EVE 

The  Boy. 
And  here's  a  taper  to  light  them  with. 

Santa  Claus 
(surprised). 
A  taper? 

The  Boy. 

It's  just  a  flame  from  one  of  the  Northern  Lights — 
1  always  have  it  with  me. 

The  Hush-a-Bye  Lady 

(unfastening  flowers  from  her  girdle). 

And  here  are  some  scarlet  poppies,  that  will  look 
well  next  the  green,  and  a  star  or  two  that  fell  from 
the  sky  last  summer.  I  see  so  many  falling  stars  in 
my  journeying  from  dusk  till  dawn,  and  I  always  catch 
them  and  use  them  for  jewels  in  my  hair. 

Santa  Claus 
(plainly  puzzled). 
What  will  we  put  on  the  top  of  the  tree? 

The  Hush-a-Bye  Lady. 

What  would  you  say  to  a  shimmering,  shining 
dream  ? 

Santa  Claus. 
(delighted). 
The  very  thing! 


OX  CHRISTMAS  EVE  165 

Wendy. 
Now  all's  complete,  I  must  be  flying  home  again. 
[Exit  through  window  as  formerly.     General 
bustle  of  departure. 

Alice. 
The  Duchess  will  be  expecting  me  by  this  time,  and 
I  must   hurry,  for  the  Queen  will  be  there  too,  and 
if  I'm  late  I'll  be  sure  to  hear  a  voice  crying:  "  Off 
with  her  head!     Off  with  her  head!  " 

[Exit  Alice. 
Crusoe. 

Well,    my   man    Friday    will    be    getting    anxious. 
Come,  Polly. 

[Picks  up  cage  and  exits. 

The  Hush-a-Bye  Lady 
(speaking  softly   as  she  leans   over  the  Little   Girl). 
Good-night,  dear  child,  and  a  happy  waking.     May 
all  the  dreams  you  moet  on  Rock-a-Bye-Street  be  full 
of  peace  and  joy. 

[Exit  Lady. 
The  Bagdad  Traveler. 
Come,  Hansel.     Come,  Gretel.     Remember  you  are 
to  ride  on  my  carpet. 

Hansel  and  Gretel 
(pausing  at  door). 
Good-night,  Santa,  and  a  Merry  Christmas! 


166  ON  CHRISTMAS  EVE 

Santa  Claus. 

Good-night'  Good-night!  Merry  Christmas>  every 
one.  (To  Boy.)  Well,  young  man,  since  we  both 
live  in  the  polar  region  our  ways  lie  in  the  same 
direction.  How  would  you  like  to  come  with  me  and 
drive  the  reindeer? 

The  Boy 

(delightedly). 
I'd  like  it  better  than  anything! 

Santa  Claus. 

Up  you  go,  then,  up  you  go !  (Pushes  boy  up  chim- 
ney. Seizes  another  toy  from  his  pack  and  lays  it  be- 
side the  Little  Girl  who  still  soundly  slumbers.)  Sleep 
well,  dream  deep,  and  wake  to  a  Merry  Christmas 
morning! 

[Santa  Claus  goes  up  the  chimney.  There  is 
heard  again  the  stamping  of  hoofs  and  the 
jingling  of  bells  growing  fainter  and  fainter. 
They  cease  altogether.  Silence.  A  pause. 
Steps  are  heard  without.  The  Little  Girl's 
mother  opens  the  door  wearily,  closes  it  be- 
hind her,  and  puts  down  her  bundle.  Then 
stares,  rubs  her  eyes,  and  stares  again,  trans- 
fixed by  what  she  sees.  The  Little  Girl 
sleeps  on.     Tableau. 

Curtain 


COSTUMES 

The  Little  Girl:  Dark  blue  woolen  dress,  clean 
but  worn. 

Wendy:  Brown  dress.  White  lace  collar.  Brown 
cloak.     Carries  large  "  Witch  "  broom. 

Crusoe:  Tall  fur  hat.  Suit  made  of  a  combination 
of  fur  and  leather;  with  leather  girdle  and  knives 
stuck  in  it.  Goat  skin  pocket  attached  to  girdle. 
Gun  in  hand. 

Alice:  Prim  little  short  dress  of  white.  Dainty  white 
apron  with  tiny  pockets  and  edging  of  lace.  Wears 
a  pale  blue  woolen  cloak,  hooded,  which  she  takes 
off  on  entering. 

Gretel:  Dark  green  skirt.  Deep  girdle  of  same  laced 
over  a  white  bodice.  Cream  colored  apron  bordered 
with  red  and  green.  Flaring  white  peasant  cap. 
Dark  green  cape  that  she  removes  on  entering. 
Red  mittens.  Wooden  shoes.  .  If  these  are  not 
procurable  a  good  way  to  imitate  them  is  to  have  a 
pair  cut  and  shaped  from  the  heaviest  wrapping 
paper,  and  then  pasted  over  an  old  pair  of  slippers. 

Hansel:  Dark  knee  breeches.  Bright  shirt  and  over 
this  a  little  tight-fitting  black  velvet  jacket  snugly 
buttoned  up  the  front.  Black  cap  with  laps  over 
the  ears.  Green  mittens.  Wooden  shoes.  Both 
Hansel  and  Gretel  wear  very  gay  stockings. 
167 


168  COSTUMES 

Bagdad  Traveler:  Yellow  satin  suit  with  very  full 
Turkish  breeches.  Red  and  green  silken  sash.  A 
great  number  of  neck  chains  and  immense  jewels. 
Yellow  stockings  and  yellow  turned-up  Turkish 
slippers,  richly  embroidered  with  gold.  Blue  and 
white  turban.  His  face  should  be  a  dark  yellowish 
brown  and  he  should  have  a  black  mustache  curling 
up  at  the  ends. 

The  Boy  from  the  Back  of  the  North  Wind: 
Esquimaux  suit  dusted  with  silver  snow  powder. 

The  Hush-a-Bye  Lady:  Long  trailing  white  robe 
bordered  with  scarlet  poppies  on  bands  of  silver. 
Silver  stars  and  white  and  scarlet  poppies  worn  on 
her  flowing  hair  as  a  crown.  Over  her  dress  she 
wears  a  long  soft  white  wrap  trimmed  with  swans- 
down. 

The  Little  Girl's  Mother:  Plain  gray  woolen 
working  dress.  Dark  jacket,  neat  but  worn.  Shawl 
over  her  head. 


THE  ELF  CHILD 


CHARACTERS 

Heather  Bell,  an  elf 
The  Herb  Gatherer 
First  Village  Child 
Second  Village  Child 
Chorus  of  Six  or  More  Village  Children 


DRAMATIC  DIRECTIONS 

The  play  can  be  given  either  out  of  doors  or  indoors. 
If  indoors,  try  to  bring  to  it  as  much  of  the  outdoor 
spirit  as  possible.  Teach  the  children  a  quaint  march 
figure  if  there  is  not  room  for  them  to  dance.  Build 
the  Herb  Gatherer's  hut  of  canvas  and  fasten  to  it 
twigs  and  leaves  and  patches  of  green  cambric.  A 
little  door  of  white  cardboard  painted  with  faint  brown 
streaks  to  represent  birch  bark,  and  having  greenish 
and  brownish  markings  of  a  deeper  tone  to  give  the 
effect  of  moss  and  weather-staining.  Use  a  schoolroom 
bench  if  a  weather-darkened  one  is  not  to  be  had.  A 
number  of  plants  should  be  placed  about  right,  left,  and 
in  background.  There  should  be,  if  possible,  a  green 
floor  covering.  If  the  costumes  later  designated  are 
too  difficult,  have  prettily  colored  tissue  paper  caps  for 
the  peasant  boys,  and  aprons  with  gay  borders  for 
the  peasant  girls.  Heather  Bell  should  wear  a  pair 
of  purplish  wings  made  of  tinted  cardboard,  and  the 
Herb  Gatherer  a  dark  dress  and  hood,  with  an  apron 
to  which  are  fastened  red  and  green  cabalistic  signs 
so  as  to  make  a  border. 

At   the  indoor  production  of  the  play  one  of   the 
village  children  should  speak  the  following  proiogue: 
171 


PROLOGUE 

Listen  all  ye  who  come  to  stay 

And  witness  here  our  elfin  play ! 

Think  that  you  see,  from  left  to  right, 

A  woodland,  sun-kissed,  dappled,  bright; 

That  overhead  green  branches  meet, 

And  that  midst  grass  and  frond-fern  sweet 

Grow  flowers  with  juice  medicinal, 

And  herbs  possessed  of  healing  spell. 

While,  hid  by  oak  and  pointed  fir, 

The  house  of  the  Herb  Gatherer 

Peeps  at  the  passers  in  the  wood — 

At  peasant  child  or  dame  with  hood. 

Imagine  that  it  is  the  close 

Of  a  long  summer's  day.     The  rose 

Begins  to  fold  her  soft  leaves  up, 

The  bee  forsakes  the  lily's  cup; 

And  village  children  homeward  turn 

Ere  candlelight  begins  to  burn. 

Imagine,  therefore,  such  a  scene 

Set  deep  within  a  forest  green, 

Let  woodland  fancies  hold  you  thrall. 

And  grant  your  patience  through  it  all. 


172 


THE  ELF  CHILD 

The  scene  is  a  forest.  Trees  right  and  left,  with 
curious  herbs  and  flowers  growing  beneath  them.  In 
the  background  the  Herb  Gatherer  s  hut,  very  tiny  and 
weather-stained,  with  moss  on  its  sloping  eaves,  and 
grass  growing  up  to  its  very  door  sill  as  if  the  forest 
claimed  it  for  its  own.  Near  this  an  old  bench,  so 
gray-green  with  lichens  that  it  looks  like  part  and  parcel 
of  its  surroundings.  The  time  is  on  a  mid-summer  eve 
at  the  edge  of  twilight.  The  village  children,  girls 
with  short  skirts  and  peasant  bodices,  and  boys  in  quaint 
suits  and  caps,  pass  laden  with  flowers,  and  carrying 
gay  baskets  heaped  with  wild  fruits,  and  piles  of  fagots. 
They  go  from  right  to  left  across  the  stage,  their  final 
exit  being  left. 

At  the  right,  half -hidden  by  tree  branches,  little 
Heather  Bell  watches  them  wistfully.  All  of  Heather 
Bell's  movements  are  light  and  fantastic,  differing 
greatly  in  their  elfishness  from  those  of  the  village 
children. 

Chorus  of  Children. 

Gentle  comrades,  come  away! 
Closes  now  the  long  bright  day. 
On  our  hearths  the  fagots  burn, 
Back  from  the  forest  paths  we  turn. 
173 


174  THE  ELF  CHILD 

O  the  touch  of  mother  lips, 
O  the  arm  that  round  us  slips! 
We  shall  shut  the  darkness  out, 
And  the  shadows  round  about. 
Twilight  falls,  yet  from  afar 
In  each  doorway  like  a  star 
Shine  the  beacon  lights  of  Home 
Telling  us  no  more  to  roam. 
[Exit     Children.       Heather    Bell,     who     has 
emerged  from  behind  the  trees  at  the  word 
"Home,"  darts  after  them  with  pleading, 
outstretched  arms. 

Heather  Bell. 

The  lights  of  Home — Oh,  by  those  lights  the  lamps 
of  fairyland  seem  cold  and  dim !  Stay,  let  me  go  with 
you!  (Sorrowfully.)  They  do  not  heed!  They  do 
not  hear!     They  do  not  even  see  me! 

Chorus  of  Children 
(in  distance). 
Like  a  welcome  when  we  roam 
Shine  the  beacon  lights  of  home! 

Heather  Bell. 

Nay,  they  are  gone,  and  there  is  naught  left  but  the 
echo !  And  here  am  I  alone  in  the  wood !  My  elf 
comrades  would  laugh  at  me  could  they  see  how  fruit- 
less hath  been  my  journey.  'Tis  the  every  edge  of  the 
forest,  and  nought  do  I  see  but  trees  and  ferns  and — 


THE  ELF  CHILD  175 

(Catches  sight  of  Herb  Gatherer's  hut.)  Stay,  there's 
a  little  house  within  the  trees!  Nay,  as  I  live,  'tis  the 
house  of  the  wise  old  woman  the  village  folk  call  the 
Herb  Gatherer.  They  say  that  her  skill  in  simples 
hath  made  her  more  than  human  wise.  And  more  than 
elfin  wise,  it  may  be,  for  those  who  live  in  the  forest 
learn  to  see  far  off.  If  I  did  but  tap  on  the  door. 
(Goes  up  to  the  hour.e.)  There's  some  one  stirring 
within!  I  can  hear  a  footstep!  Oh,  if  I  knocked, 
would  she  hear  me?  If  she  opened  the  door  would 
she  speak  to  me?  I  will  try!  (Knocks  gently  at 
door.) 

[The  Herb  Gatherer  opens  the  door  and  appears 
upon  its  threshold,  a  strange  regal  figure, 
touched  with  forest  mystery,  and  carrying  a 
bag  holding  herbs  in  her  hand. 

The  Herb  Gatherer. 

Now,  by  tht  tap  of  thy  fingers  I  know  thee  to  be  an 
elf.  What  dost  thou  here  so  far  from  the  heart  of 
the  forest?     Where  are  the  other  elves,  thy  comrades? 

Heather  Bell 
(overjoyed). 
Thou  dost  see  me?     Thou  dost  hear  me? 

The  Herb  Gatherer. 
Assuredly. 

Heather  Bell. 
Then  why  do  they  not  see  me  ? 


176  THE  ELF  CHILD 

The  Herb  Gatherer. 
They? 

Heather  Bell. 

The  village  children  who  passed  but  now  with  songs 
and  dances.  I  call  to  them  and  they  will  not  listen, 
I  stretch  out  my  arms  to  them  and  they  will  not  heed 
me.  Why  do  they  pass  with  never  a  glance  or  a  word 
for  me  ? 

The  Herb  Gatherer 
(going  to  seat,  left). 

They  pass  thee,  elf,  because  they  do  not  see  thee. 
They  are  mortal  folk,  and  to  them  thou  art  only  a 
shadow. 

Heather  Bell 
(to  herself,  following  Herb  Gatherer  to  seat). 

A  shadow!  Mayhap,  then,  that  is  why!  (To  the 
Herb  Gatherer.)  O  good  Herb  Gatherer,  they  say  in 
the  village  that  forest  ways  have  made  thee  more  than 
human  wise  and  for  that  reason  I  seek  thy  counsel. 
Listen.  All  my  life  I  was  content  in  the  forest.  The 
wind  and  the  dew  and  the  stars  were  enough  for  me. 
Then  came  the  night  when  I  strayed  to  the  edge  of 
the  village,  and  saw  the  lights  that  shone  through 
windows  and  doorways,  welcome  lights,  human  lights, 
the  lights  of  Home !  And  since  that  time  the  lights  of 
fairyland  have  never  called  me ; .  I  have  no  heart  for 
any  elfin  dances;  I  shiver  now  when  winds  sweep 
through  the  forest.     I  want  the  look  of  human  eyes, 


THE  ELF  CHILD  177 

so  deep,  so  tender.     I  want  the  touch  of  human  chil- 
dren's hands. 

The  Herb  Gatherer 

(nodding  to  herself). 

Weary  of  unreality,  poor  elf.  Aye,  there  be  many 
like  thee. 

Heather  Bell. 

There  is  a  house  in  the  village — a  little  house  where 
a  man  and  his  wife  sit  childless  by  their  hearthstone, 
and  on  winter  nights  when  the  wind  wails  the  woman 
raises  her  head  and  listens.  And  ofttimes  she  opens 
the  door  and  looks  without. 

*  Why  dost  thou  open  the  door,  wife?  "  says  the  man. 

"  Lest  a  wandering  beggar  child  touch  the  latch, 
and  I  not  hear  it,"  says  the  woman.  "  For  though 
we  are  poor  there  is  bread  enough  for  one  mouth  more, 
and  a  place  is  ever  to  spare  at  our  hearthstone." 

"  And  in  thy  heart  too,  good  wife,"  says  the  man. 

"  Aye,  and  in  my  heart,  too,"  says  the  woman. 

Seest  thou  not,  good  Herb  Gatherer,  that  if  they 
could  but  hear  me  I  might  lift  the  latch  and  enter. 
Often  and  often  I  knock,  and  often  I  stand  with  my 
face  pressed  to  the  window.  Is  it  because  I  am  a 
shadow  that  they  do  not  hear  me?  \ 

The  Herb  Gatherer. 

Aye,  'tis  because  thou  art  a  shadow,  as  all  elves  arc 
shadows. 


i;8  THE  ELF  CHILD 

Heather  Bell 
(anxiously). 
Is  it  my  wings  that  make  me  not  a  human  ? 

The  Herb  Gatherer. 

Nay,  'tis  because  thou  hast  no  soul. 

Heather  Bell 

(passionately). 

No  soul!     What  is  a  soul?     Can  I  not  gain  one? 
Answer ! 

The  Herb  Gatherer. 

Aye,  thou  canst  gain  one.     But  how  I  may  not  tell 
thee. 

Heather  Bell 
(joyously). 

Oh,  I  will  find  the  way,  if  way  there  be!     Let  me 
but  think  upon  it !     Wilt  thou  wait  here  for  me  ? 

The  Herb  Gatherer. 
Aye,  I  will  wait.     What  is  thy  name,  strange  elf? 

Heather  Bell. 
My  name  is  Heather  Bell. 

The  Herb  Gatherer. 
And  thou  are  rightly  called;  for  thou  are  garbed 
like  the  dim  moors  at  twilight. 


THE  ELF  CHILD  179 

Heather  Bell 
(bounding  off  left). 
I  will  not  keep  thee  long,  I  promise  thee. 

The  Herb  Gatherer 
(going  from  flower  to  flower,  culling  and  cutting  and 
chanting  slowly  as  she  bends  over  them). 
Herb  that  only  knows  the  moon, 
Flower  that  ever  fades  too  soon ; 
Bud  the  honey  bee  hath  left, 
Stem  the  summer  storm  hath  cleft — 
Of  ye  all  I  take  my  till, 
Be  ye  balm  for  human  ill ! 

Heather  Bell 

(re-entering  joyfully  from  left,  hands  full  of  glittering 

metal). 

Look,  look,  good  Herb  Gatherer!     Now  I  shall  have 

me  a  soul ;  for  see,  I  bring  more  gold  than  a  king's 

ransom!     'Tis  elfin  gold,  all  glittering  and  shining. 

The  Herb  Gatherer 
(shaking  her  head). 
Thou  canst  not  buy   a  soul,  sweet   Heather  Bell. 
Gold  cannot  gain  thee  one. 

Heather  Bell 
(letting  the  gold  slip  through  her  fingers  to  the  ground). 
Alack  for  my  hopes!     Yet  still  there  is  some  way! 
(Anxiously.)     Thou  wilt  be  here  when   I   return  to 
thee? 


180  THE  ELF  CHILD 

The  Herb  Gatherer. 
Aye,  I'll  be  here. 

Heather  Bell 

(with  returning  lightness). 

I'll  speed  me! 

[Exit  Heather  Bell  left. 

The  Herb  Gatherer 

(chanting  and  bending  as  before). 

Pollen  bright  as  drifting  gold, 
Honey  that  the  flower  bells  hold, 
Subtle  juices  every  one 
Slow  fermented  by  the  sun, 
Working  nature's  wondrous  will, 
Be  ye  balm  for  human  ill. 

[Re-enter  Heather  Bell,  right. 

Art  back  again,  sweet  Heather  Bell? 

Heather  Bell. 

Swift  as  my  wings  could  carry  me!  And  now  at 
last,  good  Herb  Gatherer,  I  have  my  portent.  Wise 
as  thou  art,  there  are  some  things  we  elves  alone  are 
given  to  know.  I  can  tell  the  language  of  the  bees 
and  birds,  what  the  brook  sings  as  it  runs,  and  what 
old  runes  and  tales  the  pine  trees  whisper  one  to 
another — all  this  will  I  fathom  for  thee  and  more,  so 
I  may  gain  me  a  soul ! 


THE  ELF  CHILD  181 

The  Herb  Gatherer 

(pityingly). 

Knowledge  cannot  give  thee  a  soul,  sweet  Heather 
Bell.     All  the  deep  lore  of  Elfdom  will  not  aid  thee. 

Heather  Bell. 

Nay,   I   will   try   again.     Wait   yet   a   little,   good 
Herb  Gatherer. 

[Exit  Heather  Bell,  left. 

The  Herb  Gatherer 

(bending  and  chanting  as  before). 
Branch  that  frost  can  never  blight, 
Creeping  tendril,  curled  and  white, 
Fibers  sunshine  hath  not  found, 
Root  that  groweth  underground, 
Now  your  healing  tasks  fulfil, 
Be  ye  balm  for  human  ill! 
[Re-enter  Heather  Bell,  breathless,  from  back* 
ground. 
How  now,  Elf?     What  has  possessed  thee? 

Heather  Bell 

(passionately,  her  face  wet  with  tears). 

Oh,   come — come   swiftly!      Here   in   the   wood   a 
child  hath  gone  astray!     I  cannot  make  her  hear  me 

—cannot  make  her  see  me !     The  tarns  are  deep 

— the  water  pixies  evil !     Beseech  you 


182  THE  ELF  CHILD 

The  Herb  Gatherer 

(pausing). 
Hark! 

[The  First  Village  Child  appears  in  bach- 
ground,  followed  by  the  other  village  chil- 
dren, right.  From  the  left  hastens  Second 
Village  Child,  a  little  girl  with  bramble- 
torn  dress  and  cap,  and' her  eyes  wide  with 
fear. 

First  Village  Child. 
Sweetest  comrade,  didst  thou  stray? 

Second  Village  Child. 

Aye,  I  turned  and  lost  my  way. 
Oh,  the  wood's  a  fearsome  place — 
Every  gnarled  tree  seemed  a  face! 
By  the  deep  tarn  in  the  dell 
On  the  rocks  I  slipped  and  fell ! 
And  the  forest  was  so  still — 
And  I  wept  and  fled,  until 

First  Village  Child. 

Hush  thee,  sweet,  and  have  no  fear! 

See!     The  village  lights  are  near! 

Soon  again  our  steps  shall  turn 

To  the  hearts  where  fagots  burn ! 
[The  children  pass  slowly   out  left.     Heather 
Bell  clings  to  the  Herb  Gatherer  in  a  pas- 
sion of  relief. 


THE  ELF  CHILD  183 

The  Elf  Child. 

She  is  safe — she  is  safe,  oh,  good  Herb  Gatherer! 
(Shuddering.)  And  the  tarn  was  so  deep — and  I 
could  not  make  her  hear! 

The  Herb  Gatherer. 
What  is  that  within  thine  eyes,  sweet  Heather  Bell? 

Heather  Bell 

(brushing  hand  across  eyes). 

Indeed,  good  Herb  Gatherer,  I  know  not!  'Tis  a 
smarting  drop  of  salty  water  that  seems  to  come  from 
my  heart!  'Tis  something  I  have  never  felt  before — 
I,  who  am  but  a  shadow!  And  alas!  alas!  good  Herb 
Gatherer,  I  know  at  last  that  the  way  an  elf  may 
gain  a  soul  is  a  way  that  I  may  not  find.  (Bitterly.) 
I  have  nought  to  offer  you  but  shadows,  and  the 
dreams  of  shadows!     (Turns  to  go.) 

The  Herb  Gatherer. 

Shadow  no  longer,  little  Heather  Bell.  Thy  tears 
have  made  thee  human.  Gold  could  not  purchase 
thee  a  soul,  nor  knowledge  gain  it  for  thee,  but  grief 
and  thought  for  another  than  thyself  will  open  e'en 
the  doors  of  Paradise!  (Heather  Bell  raises  a  face 
radiant  with  human  happiness;  her  wings  fall  to  the 
ground.)  Listen!  Yonder  are  the  village  children! 
Thy  hearthstone  waits  thee,  and  a  woman's  hungry 
kisses! 


184  THE  ELF  CHILD 

Chorus  of  Village  Children 

(re-entering,    see    Heather    Bell    and    surrouna     her 
rapturously  as  a  new  playmate). 

Little  stranger,  come  away! 
Thou  wilt  not  refuse  to  stay? 
On  our  hearths  the  fagots  burn! 
Back  from  forest  ways  we  turn. 
O  the  touch  of  waiting  lips! 
O  the  arm  that  round  us  slips! 
We  shall  shut  the  darkness  out, 
And  the  shadows  round  about. 
Twilight  falls,  yet  from  afar, 
In  each  doorway  like  a  star, 
Shine  the  beacon  lights  of  home, 
Telling  us  no  more  to  roam! 
[ The  children  dance  off  right,  with  the  willing 
Heather  Bell.    The  Herb  Gatherer  watches 
them,  a  grave  smile  in  her  eyes.     Then  she 
stoops    and    picks    up    the    wings    that    a 
moment    since    fell    from    Heather    Bell's 
shoulders.     As  Heather  Bell  exits  it  is  seen 
that  she  is  no  longer  fantastic  in  her  gestures, 
nor  elfish  in  her  flitting  walk  as  formerly. 

The  Herb  Gatherer. 

She  hath  dropped  her  wings,  and  doth  not  even 
know  it!  I  will  take  them  to  mend  the  storm-broken 
wings  of  bees  and  butterflys! 

I  The   Herb    Gatherer  goes   towards    her   huU 


THE  ELF  CHILD  185 

From  the  distance  comes  the  joyous  echo  of 

children's  voices. 

Like  a  welcome  when  we  roam 
Shine  the  beacon  lights  of  home! 
[The  Herb   Gatherer  listens  a  moment,  with 

face  up-raised,  and  then   as  the  echo   dies, 

enters  her  hut  and  closes  the  door.     The 

play  ends. 


COSTUMES 

The  Herb  Gatherer:  Olive  green  dress,  laced 
bodice,  and  skirt  falling  to  ankles.  Tattered  cloak: 
of  same  color  about  shoulders.  Apron  with 
quaintly  embroidered  pockets  and  border.  Dark 
green  pouch  pocket  at  girdle  which  she  fills 
with  herbs. 

Heather  Bell:  Elfin  dress  of  dark  heather  purple- 
brown.  Hose  and  tight-fitting  waist  of  same 
color.  Slashings  of  purple  cloth  that  fall  in  rib- 
bons below  the  knees.  Soft  pointed  elfin  shoes. 
Heather  colored  wings  with  faint  markings  of 
white.     Peaked  cap. 

Village  Children:  Peasant  dresses,  quaint  and  gay. 


186 


THE  PRINCESS  AND  THE  PIXIES 


CHARACTERS 

Thuldo,  a  peasant 

Gretta,  his  wife 

Rosadew,  a  little  apprentice  who  lives  with  them  and 

tends  their  sheep 
Flittermouse,  \ 
Fernseed,  V  Pixies 

Thistlekin,       J 
King  Radnor 
Queen  Eleanor 

Attendants  on  the  King  and  Queen 


DRAMATIC  DIRECTIONS 

The  play  can  be  given  most  easily,  for  the  indoor 
setting  is  simple  in  the  extreme:  a  plain  deal  table 
and  a  deal  chair;  a  cupboard  and  fireplace  built  of 
boxes  as  described  in  Nimble- Wit  and  Fingerkin ;  and 
the  most  ordinary  white  china  bowls,  cups,  and  plates. 
If  the  costumes  designated  for  a  fuller  dramatic  pro- 
duction of  the  play  are  not  wished,  then  substitute 
tissue  paper  caps  of  brown  for  the  Pixies,  all  made 
alike ;  a  bright  handkerchief  around  the  neck  for  Thul- 
do;  an  apron  with  a  gay  border  basted  to  it  for  Gretta; 
and  a  few  rags  and  tatters  basted  to  Rosadew's  every- 
day dress  to  give  her  the  appearance  of  poverty. 
Capes  for  the  King  and  Queen,  and  gilt  crowns. 
Gilt  paper  stars  and  crosses  fastened  to  ribbons,  and 
then  crosses  about  the  shoulders  of  their  attendants. 
The  one  item  of  expense  will  be  Rosadew's  robe  that 
the  Pixies  have  spun  for  her.  This  can  be  made  of 
three  yards  of  pale  blue  glazed  cambric  with  a  great 
star  of  silver  paper  cut  out  and  pasted  to  the  center 
of  the  material;  and  a  border  of  gold  paper  pasted 
around  the  edge. 

The  gestures  of  the  peasants  and  their  bearing 
189 


190  DRAMATIC  DIRECTIONS 

should  be  somewhat  awkward  and  uncouth,  so  as  to 
contrast  with  that  of  the  court  folk.  Rosadew's  ways 
and  manner  should  be  especially  charming.  The  pix- 
ies should  move  about  on  tip-toe,  lightly,  fantastically, 
swiftly. 


THE  PRINCESS  AND  THE  PIXIES 

The  scene  is  Thuldo's  house,  a  bare,  meager  room, 
the  floor  uncarpeted,  the  walls  unadorned. 

At  the  left  there  is  a  hearthstone  with  embers  aglow, 
and  with  a  shelf  above  it  on  which  are  a  few  rude 
cooking  utensils. 

A  table  in  the  center  of  the  room  made  of  plain 
deal.     Three  or  four  plain  deal  chairs. 

Against  the  right  wall  a  cupboard  containing  earth- 
enware dishes. 

In  the  center  background  a  door.  At  the  left  of 
this  a  window  rudely  curtained.  A  door  opening  in- 
to another  room  at  left.  Th  •  time  is  evening  in  late 
April.  At  the  rise  of  the  curtain  the  stage  is  empty. 
A  whirring  sound  comes  from  the  room  at  left  and 
presently  stops  as  the  door  opens  and  Flittermouse  ap- 
pears, looking  cautiously  about,  and  stepping  nimbly 
and  lightly  as  if  in  fear  of  detection.  Then  Flitter- 
mouse returns  to  the  room  at  left  again  and  above  the 
pleasant  whirring  sound  is  heard  the  voice  of  Flitter- 
mouse singing. 

Twirl  and  turn,  twirl  and  turn, 
Thistlekin,  Flittermouse,-  Seed  o'Fern! 
Wondrous  the  garment  we  prepare, 
Fit  for  a  true  Princess  to  wear. 
191 


i92  THE  PRINCESS  AND  THE  PIXIES 

Golden  the  thread  on  the  spindle  flies, 
Pearly  the  tears  of  Rosadew's  eyes, 
Twirl  and  turn,  twirl  and  turn, 
Thistlekin,  Flittermouse,  Seed  o'  Fern ! 
[As  the  song  ends  Flittermouse  comes  into  the 
room  again,  and  somewhat  impatiently,  as 
well  as  cautiously,  looks  out  the  door. 

Flittermouse. 
There's  not  a  sign  of  them! 

Thistlekin 

(entering  with  Fernseed). 

Not  a  sign,  say  you,  Flittermouse,  and  here  we  are 
at  your  elbow! 

Flittermouse 

(turning). 

Greetings,    fellow   Pixies!     Where  have   you   been 
this  long  time? 

Fernseed. 

Out  on  the  hills  where  Rosadew  is  tending  sheep. 

Flittermouse. 
Was  she  alone,  good  Fernseed? 

Fernseed. 

Nay,  not  altogether  alone;  for  at  noon  there  came 
an  old  woman  so  feeble  and  weary  that  Rosadew  must 


THE  PRINCESS  AND  THE  PIXIES  193 

needs  help  her  over  the  muddy  brook  bank,  and  the 
lichen-covered  rocks. 

Thistlekin. 

And  later  there  came  a  beggar  boy  with  whom 
Rosadew  must  needs  share  her  black  bread  and  goat's 
cheese.  (Mysteriously.)  So  here's  to  our  further 
spinning,  comrades! 

Fernseed. 

Aye,  and  neither  Rosadew  nor  Thuldo  nor  his  wife 
have  ever  guessed  what  goes  on  beneath  their  very 
roof. 

Flittermouse. 


Hist!     I  hear  Goodwife  Gretta  coming!     Let  us  to 
[Exit  gnomes  through  door,  left. 


our  spinning! 


Gretta 

(entering  and  looking  about). 

There's  no  one  here — 'tis  as  quiet  as  the  fields  in 
the  spring  sunshine,  and  yet  I  thought  I  heard  foot- 
steps. Well,  I  was  mistaken.  'Twas  naught  but  the 
wind  playing  tricks  in  the  chimney,  and  I  must  set  the 
cakes  to  brown.  (Bends  at  hearthstone,  setting  out 
round  cakes,  like  small  slabs.)  'Tis  near  the  hour  foi 
Rosadew's  home-coming.  (Rises  and  looks  towards 
outer  door.)  There  she  is,  driving  the  sheep  before 
her.     Now  she  is  putting  them  into  the  byre.     (Enter 


194  THE  PRINCESS  AND  THE  PIXIES 

Rosadezu.)     Well  Rosadew,  does  the  evening  find  you 
tired  and  hungry? 

Rosadew 
(prettily). 
So    tired,    and    so   hungry!     But   let   me    turn    the 
cakes,    Goodwife    Gretta.      You    have    been    stirring 
about  the  house  much  longer  than  I. 

Gretta 

(yawning). 
The  day  is  long  when  one  rises  at  dawn!     Look  to 
the  cakes  if  you  will,  Rosadew,  and  see  to  it  that  they 
do  not  burn.     (Stretches.)     There  are  times  when  it 
seems  a  hundred  years  between  sunrise  and  sunset! 

Rosadew 
(rising  from   hearth). 
Will  you  not   rest,   Goodwife  Gretta,   and  let  me 
take  your  knitting?     I  can  knit  and  watch  the  cakes 
at  the  same  time.     See  how  the  shadows  dance  where 
the  firelight  plays!      (Gretta  dozes  in   her  chair,  and 
Rosadezu,  seeing  that  she  is  not  altogether  at  ease,  runs 
and  fetches  a  footstool.)     Nay,  of  what  use  am  I  if 
I  cannot  serve  you?     Am  I  not  your  apprentice,  and 
is  it  not  my  pleasure  to  do  my  office  well?     (Goes 
back  to  her  place  by  the  fire,  and  knits  industriously.) 
There!     The  last  stitch   is  taken   and   the  cakes  are 
done!     Now  let  me  see  to  the  table  and  the  cupboard 
(Rises.) 


THE  PRINCESS  AND  THE  PIXIES  195 

Gretta 
(opening  her  eyes). 

Nay,  then,  how  did  I  fall  to  dozing!  (Goes  to  the 
door.)  'Tis  almost  supper  time!  (Stands  by  the 
door  looking  out.) 

Rosadew. 

Aye,  the  hills  are  growing  dark,  and  the  sunset  if 
fading! 

Gretta. 

I  can  see  Thuldo  coming  up  the  hill  road  now. 
He  is  late.  What  kept  you,  Thuldo?  I  have  been 
looking  and  listening  for  you  these  many  moments! 

Thuldo 
(entering). 
Great  news  is  astir  on   the  highway!     The  Kint, 
and  Queen  are  weary  of  living  alon'e  in   their  grea 
castle,  and  have  sent  forth  word  that  the  child  that  i 
nearest  to  being  a  Princess  they  will   take  and   rea. 
as  their  own! 

[Rosadew  during  the  following  has  put  the 
cakes  on  a  platter,  and  now  goes  to  and 
fro  between  the  cupboard  and  the  table, 
putting  rude  bowls  and  plates  on  it. 

Gretta. 

Nearest  to  being  a  Princess  ?  What  can  that  mean, 
I  wonder? 


196  THE  PRINCESS  AND  THE  PIXIES 

Thuldo. 

Whatever  it  means,  wife,  it  is  no  affair  of  ours. 
Our  lives  pass  far  enough  from  courts  and  the  like. 
Come,  the  table  is  ready  and  the  cakes  have  a  savory 
odor.  The  King  and  Queen  may  have  finer  viands; 
but  I'll  warrant  they  have  no  finer  hunger! 

[They  take  their  places  at  the  table,  Rosadew 
placing  the  cakes  on  a  platter,  and  pouring 
out  milk  into  bowls,  rising  from  her  place 
to  wait  on  Thuldo  and  Gretta.  The  hum- 
ming at  the  room  left  begins  again,  faint 
as  a  whisper  at  first,  and  then  growing 
gradually  louder. 

Rosadew. 
Have  you  ever  seen  the  King  and  Queen? 

Thuldo. 

Aye,  I  have  seen  them.  Often  they  ride  down  the 
highway  with  smiles  and  bows  for  all  who  pass. 

Gretta 
(raising  her  head). 
What  is  that  sound? 

Thuldo. 
Sound  ? 

Gretta. 

It  is  like  the  whir  of  a  wheel  or  a  shuttle,  as  if  some 
one  was  spinning. 


THE  PRINCESS  AND  THE  PIXIES  tfcff 

ROSADEW. 
Spinning? 

Gretta. 

Aye,  'tis  like  the  running  of  a  loom. 

Thuldo. 

What  nonsense,  wife.     You'll  be  hearing  songs  in 
the  wind  next. 

Rosadew. 

Perhaps   .    .    .   perhaps  it's  Pixies! 

Thuldo 

(with  a  snort  of  indignation). 
Pixies ! 

Rosadew. 

The   little  elf-creatures  who   live  upon   the   moors, 
and  sometimes  near  the  hearths  of  people's  homes. 

[A   knock  sounds  at  the  door  without. 

Gretta. 
Hark!     What  is  that? 

Thuldo 
(placidly  going  on  with  his  eating). 
It  is  the  spring  wind  blowing  at  the  latch. 


198  THE  PRINCESS  AND  THE  PIXIES 

Gretta. 
It  is  a  knock.     Go  open  it,  Rosadew! 

[King  Radnor  enters,  followed  by  Queen 
Eleanor  and  attendants. 

Thuldo 
(much   taken   aback). 
It  Is  their  Gracious  Majesties! 

King  Radnor. 
Greetings  unto  all  beneath  this  roof. 

[Rosadew,  with  hands  clasped  upon  her  breast 
and  wide-open  eyes,  backs  towards  the  fire- 
place. 

Queen  Eleanor 
(to  Thuldo  and  his  wife). 
Have  you  not  heard  of  that  for  which  we  seek? 

Thuldo 
(bowing  lower  and  lower). 
I  did,  indeed,  hear  a  rumor,  your  Majesty. 

Queen  Eleanor. 
Is  there  no  child  beneath  your  roof,  good  peasant? 

Gretta 
(recovering  from  her  stupefaction). 
But  one,  your  Majesty;  a  young  orphan  apprentice 


THE  PRINCESS  AND  THE  PIXIES  ioo 

who  tends  our  sheep.  But,  indeed,  if  your  Majesty 
wishes  a  child  that  is  nearest  to  being  a  Princess,  your 
Majesty  would  never  look  at  little  Rosadew. 

Queen  Eleanor. 

Yet   I   have   promised   myself  that   I   will   pass  no 
house,  rich  or  poor;  so  call  the  child,  good  peasant. 

Gretta 
(beckoning  violently). 
Come  hither,  Rosadew. 

Rosadew 
(approaching   very    timidly). 

In  such  poor  rags  as  these  I  am  not  fit  to  come  near 
your  Majesty. 

Queen  Eleanor 
(very  charmingly). 
Ah,  but  what  if  you  should  prove  to  be  a  Princess? 

Rosadew 
(wonderingly). 
A  Princess / 


Queen  Eleanor. 

I  am  looking  for  a  little  maid  who  is  royal  enough 
to  come  and  live  with  me  in  my  castle,  and  how  am  I 
to  know  if  she  is  royal  ?  your  big  eyes  ask.  Well,  there 
is  one  way  by  which  we  may  always  tell;  for  it  isn't 


200  THE  PRINCESS  AND  THE  PIXIES 

what  is  worn  on  the  back  that  makes  a  Princess,  it's 
what  is  worn  in  the  heart.  And  so  every  little  girl 
who  is  generous  and  simple  and  kind  is  a  very  royal 
sort  of  Princess,  don't  you  see? 

Gretta 
(aside). 
Who  ever  heard  the  like! 

Queen  Eleanor 
(holding  out  her  hand  to  Rosadew). 

Come  and  let  me  look  deep  into  your  eyes,  little 
Rosadew. 

[As  Rosadew  goes  towards  her  the  door  at  left 
opens,  and  above  the  whirring  is  heard  the 
Pixies'  song,  sung  in  chorus,  rapidly. 

Twirl  and  turn,  twirl  and  turn, 
Thistlekin,  Flittermouse,  Seed  o'  Fern. 
Wondrous  the  garment  we  prepare, 
Fit  for  a  true  Princess  to  wear. 
Golden  the  thread  on  the  swindle-flies, 
Pearly  the  tears  of  Rosadew 's  eyes. 
Twirl  and  turn,  twirl  and  turn, 
Thistlekin,  Flittermouse,  Seed  o'  Fern, 

King  Radnor 
(starting). 
'Tis  like  the  sound  of  Pixie  voices. 


THE  PRINCESS  AND  THE  PIXIES  201 

Thistlekin 

(dancing  in  with  Flittermouse  and  Fernseed,  who  carry 

between  them  a  gorgeous  robe,  a  tiny  diadem 

of  stars,  and  a  necklace  of  pearls). 

Aye,  and  we  are  none  but  Pixies,  your  Majesty. 
And  all  day  long  and  every  day  we  watch  little  Rosa- 
dew  yonder  as  she  tends  her  sheep  on  the  hills.  And 
there  is  none  too  lowly  for  her  to  help,  and  none  so 
poor  but  that  she  must  do  them  a  courtesy.  For 
everything  that  is  glad  she  has  a  smile;  and  for 
everything  that  is  sorrowful,  a  tear.  So  all  unknown 
to  Thuldo  and  his  wife  beneath  this  roof  we  have 
done  our  Pixie  spinning,  and  now  our  handiwork  is 
finished.  'Tis  a  robe  for  Rosadew,  woven  of  her 
deeds  of  kindness,  and  bordered  with  an  embroidery 
of  the  sweetest  thoughts.  (Places  it  about  Rosadew's 
shoulders.)  You  need  no  longer  blush  for  your  rags, 
sweet  Rosadew. 

Fernseed. 

And  here  is  a  necklace  made  of  all  the  tears  of  pity 
she  has  shed.     (Fastens  it  about  her  neck.) 

Flittermouse. 
And  these  stars  are  made  of  the  love  and  shining- 
ness   that   looks    forth   from   her  eyes.     (Crowns   her 
with  diadem  of  tiny  stars.) 

Queen  Eleanor 
(tenderly). 
Ah,  I  see  now  that  she  is  a  true  Princess,    Will 


202  THE  PRINCESS  AND  THE  PIXIES 

you  come  with  me,  little  Rosadew,   and  live  in  the 
castle  of  my  heart? 

Rosadew. 

O,  gladly,  gladly;  for  none  ever  looked  at  me  as 
you  have  looked,  none  ever  spoke  in  such  a  gentle 
voice  as  yours  (Queen  Eleanor  clasps  her  to  her.) 
But  Thuldo  and  his  wife,  with  whom  I  have  lived  so 
long,  and  my  sheep  whom  I  have  tended 

Queen  Eleanor. 

You  shall  see  them  often,  Rosadew,  and  this  I 
promise  you:  that  neither  hunger  nor  cold  shall  ever 
cross  their  threshold. 

Rosadew. 

And  the  Pixies — dear  little  people  of  the  moor, 
how  can  I  ever  thank  you? 

Flittermouse. 

By  remembering  that  we  are  always  in  your  service. 
[Exit  King  Radnor,  Queen  Eleanor,  Rosadew 
and  attendants. 

Thistlekin. 

Come,  comrades.  Our  labors  are  finished.  Let  us 
go  dance  in  the  moonlight! 

[Exit  Pixies  through  door  in  background. 


THE  PRINCESS  AND  THE  PIXIES  20| 

Thuldo 

(dazedly,  standing  by  Rosadew's  place  at  table  and 
touching  the  things  she  used). 

There  is  the  plate  from  which  she  ate,  and  the  cup 
from  which  she  drank!  She,  a  Princess!  'Tis  a  sign, 
wife,  that  we  must  be  careful  of  what  we  say  and  do, 
for  who  knows  how  many  of  the  folk  we  meet  may 
be  royal? 


Curtain 


COSTUMES 

Rosadew:  Tattered  dress  of  black  or  brown.     Littlt 

sleeves  coming  to  the  elbow.     White  stockings  tc 

represent  bare  feet. 
Tkuldo:     Peasant    costume.       Black,    shabby    knee 

breeches.     White,  loose  shirt,  over  which  is  worn 

a   dark    green    vest   with    tarnished   brass   buttons 

down  one  side. 
Gretta:  Scarlet  skirt.     Black  peasant  bodice.     White 

chemisette. 
King   Radnor:    Velvet   cap   with   gold   and    plume. 

Long  purple  velvet  riding  cloak  that  covers  him 

from  head  to  heel. 
Queen   Eleanor:    Long   black   velvet   riding  cloak 

opening  over  a  robe  of  rich  brocade. 
The  King  and  Queen's  attendants.      As  handsome 
court  clothes  as  possible. 


tt>4 


THE  CHRISTMAS  GUEST 

A  Miracle  Play  in  One  Act  after  the  Manner  of  the 
Sixteenth  Century 


CHARACTERS 

Rosamund 
Geoffrey 
Harold 
Elinor 
Frances 

Dame  Margaret 
A  Beggar 
The  Spirit  of  Yule.    Prologue  and  Epilogue 


DRAMATIC  DIRECTIONS 

In  order  to  give  a  sixteenth  century  appearance  to 
the  schoolroom  production,  at  each  end  of  the  space 
which  forms  the  stage,  and  part  way  across,  place 
screens.  Over  the  screens  hang  portiers  or  curtains 
of  some  solid  color — dark  green,  crimson,  Italian  blue. 
These  screens  are  so  placed  as  to  give  the  necessary 
number  of  exits  and  entrances,  viz.,  the  door  in  center 
background,  and  one  at  right  and  left.  Against  the 
background  or  wall,  hang  a  curtain  of  some  material 
closely  resembling  flowered  damask.  This,  when 
lifted  with  an  air  of  looking  out,  will  stand  in  lieu 
of  a  window.  White  splotches  of  chalk  on  the  black- 
board over  whch  this  curtain  is  hung  will  give  the 
effect  of  a  snowy  night  outside  when  the  curtain  is 
lifted.  If  "  mission  furniture  "  is  not  procurable,  drape 
the  school  chairs  with  curtains  to  give  a  sixteenth 
century  effect.  The  fireplace  mentioned  in  the  direc- 
tions can  be  done  without ;  though  if  one  of  the  school- 
made  fireplaces  fashioned  of  drygoods  boxes  mentioned 
in  the  other  plays  can  be  had,  it  will  add  greatly  to 
the  scene.  On  the  curtains  which  drape  the  screens, 
and  against  any  of  the  wall  space  that  remains,  hang 
as  many  pine  and  holly  wreaths  as  possible.  Have 
candles  burning  here  and  there  to  show  it  is  the  close 
S07 


208  DRAMATIC  DIRECTIONS 

of  day.  If  the  more  ornate  costumes  described  at  the 
end  of  the  play  are  not  procurable,  the  everyday 
dresses  of  the  children  can  be  changed  thus:  White 
cheesecloth  draperies  for  the  Spirit  of  Yule,  chaplet  of 
real  or  artificial  holly.  The  quaint  dresses  for  the 
girls  should  be  made  in  the  same  fashion  as  those 
described  in  The  House  of  the  Heart,  there  being  little 
change  in  the  costumes  of  children  in  the  two  cen- 
turies. The  boys'  costumes  are  also  the  same  as  those 
described  in  The  House  of  the  Heart.  The  material, 
cambric.  For  Elinor,  pale  blue.  For  Frances,  pale 
yellow.  For  Dame  Margaret,  an  everyday  long  dress 
with  a  white  cap  and  kerchief.  For  Geoffrey,  dark 
purple.  For  Harold,  dark  green.  For  the  beggar,  a 
long  tattered  hood  and  cloak  of  some  dark  color,  gray 
or  brown. 

If  the  play  is  given  on  a  miniature  stage,  care  should 
be  taken  about  the  lighting  of  the  scene.  From  the 
time  when  the  children  blow  out  the  candles  the  room 
should  grow  darker  and  darker.  Then,  when  Frances 
discovers  that  the  beggar  was  indeed  the  angel,  a 
brilliant  shaft  of  light  should  strike  full  into  the 
darkened  room. 


The  Spirit    of   Yule   stands    before    the    curtain   and 
delivers  the  Prologue 

Lordings  and  Ladies  gathered  here 
To  have  your  fill  of  Christmas  cheer, 
Give  ear  I  pray  you  needfully 
Unto  such  things  as  here  shall  be. 
Short  is  our  play  and  scant  of  wit, 
Yet  I  beseech  you,  follow  it 
And  take  the  kernel  of  its  truth. 
As  for  the  players — let  their  youth 
Condont  their  faults.     Your  patience  lend 
And  if  ye  find  aught  to  commend 
In  this  our  play,  we  are  repaid 
For  all  the  striving  we  have  made, 
Now  shall  the  curtain  slowly  rise, 
Displaying  to  our  waiting  eyes 
The  play's  beginning.     Let  it  be 
Heard  to  the  end  with  courtesy. 


309 


THE  CHRISTMAS  GUEST 

The  scene  of  the  play  is  the  hall  of  a  sixteenth  cen- 
tury house  of  people  of  quality.  At  the  right  a  chim- 
ney place  with  huge  logs  aglow.  The  chimney  shelf 
is  banked  with  Christmas  greens.  By  the  hearth,  fac- 
ing the  audience,  a  splendidly  carved  high-backed 
chair.  Near  it  a  footstool.  There  are  a  number  of 
candles  burning  on  the  chimney  shelf. 

In  the  right  background  a  door  opening  on  the  vista 
of  a  white  wintry  twilight  that  is  nearing  its  close. 

In  the  left  background  a  window  with  crimson 
damask   curtains  reaching  to  the  floor. 

At  the  left,  back,  a  door  opening  into  another  room 
of  the  house.  On  the  left  wall,  skins,  swords,  deer 
horns,  etc.  Running  along  the  lower  part  of  the  wall 
a  long  carved  bench.  On  it  tumbled  heaps  of  Christ- 
mas gifts,  bunches  of  holly  and  mistletoe,  etc. 

At  the  rise  of  the  curtain  Dame  Margaret  is  seated 
by  the  fire  embroidering.  She  is  small  and  ruddy. 
Her  hair  is  almost  white,  but  her  face  is  unlined. 

Near  the  center  of  the  room  there  is  a  table  (mission 
style).  On  it  a  plate,  cup,  and  flagon,  Christmas  cakes, 
and  candles  burning.  At  the  left  the  children  stand 
in  a  group,  holding  their  presents  in  their  hands, 
notably,  a  fur-lined  hood,  a  pouch  purse,  fur-lined 
m 


212  THE  CHRISTMAS  GUEST 

shoes,  while  Rosamund  is  trying  on  a  brocaded  fur- 
lined  cloak  that  falls  in  heavy  folds  to  the  floor,  calling 
on  the  others  to  admire  it. 

Rosamund. 
Doth  it  not  look  most  fairly,  Frances? 

Frances. 

Nay, 
I'm  weary  of  thy  cloak.     Put  it  away. 
Ever  since  morn  we've  talked  of  naught  but  gifts, 
Now  while  the  north  wind  drives  the  snow  in  drifts 
It  is  the  hour  for  tales  and  legends  old, 
For  rhymes  of  saints,  or  of  crusaders  bold, 
Of  kings  and  heroes  and  angelic  choir. 
Come,  let  us  gather  close  about  the  fire, 
And  quench  the  candles,  till  we  make  the  room 
A  place  of  dancing  shadows — gleam  and  gloom. 

[Rosamund  and  Geoffrey  blow  out  candles 
Draw  fast  the  curtains.     Let  the  Yule  log's  light 
Be  our  one  festal  flame  this  Christmas  night! 

(to  Harold) 
What  dost  thou  see? 

Harold 

(who    has  gone   to   draw   the   curtains,   pauses   there 
#  looking  out). 

I  see  the  roadway  go 
Past  frosty  hedge  and  meadow  white  with  snow, 


THE  CHRISTMAS  GUEST  213 

Where  nothing  stirs,  save  wintry  boughs  tossed  high 
Against  the  bleakness  of  the  bitter  sky. 

Rosamund 
(gaily). 
Come,  leave  the  casement.     What  have  we  to  do 
With  winter's  humors.?     Here  are  wreaths  of  yew 
And  candlelight  and  our  own  hearthstone's  glow — 
So  let  the  drifts  heap  high,  and  the  wind  blow! 

Harold. 

Nay,  for  on  foot  to-night,  storm-fagged  and  bent, 
Their  bodies  hunger-torn,  their  raiment  rent, 
Who  knows  what  beggars  face  the  bitter  wind! 

Geoffrey. 

Now  Heaven  grant  that  such  may  shelter  find, 
And  peace  and  cheer. 

Frances. 
Unto  that  wish,  Amen! 

Rosamund 

(as  children  follow  her  towards  whi,e  Dame  Margaret 
is  sitting). 

Come,  let  us  gather  near  the  hearth  and  then 
Perchance  we'll  ask  Dame  Margaret  for  a  tale! 

Dame  Margaret. 

A  tale,   dear   hearts?     Hark!     How   the  wind   doth 
wail! 


214  THE  CHRISTMAS  GUEST 

It  seems  to  twist  the  branches  of  each  tree 
And  wring  from  them  a  cry  of  agony. 

Geoffrey. 
I'll  warrant  none  will  stir  abroad  this  night. 

Dame  Margaret. 
Save  one,  my  son,  who  speeds  on  wings  of  light! 

Geoffrey 
(amazed). 
On  wings  of  light 

Dame  Margaret. 

Aye,  for  the  legends  say 
That  ever  on  the  close  of  Christmas  day, 
When  folk  are  tired  of  feasting  and  of  mirth, 
The  Christmas  Angel  comes  again  to  earth, 
Chooses  a  house  and  knocks  upon  its  door 

Elinor 
(wide-eyed). 
Why,  thou  hast  never  told  this  tale  before! 

Dame  Margaret. 

And  then 

A  Woman's  Voice 
(calling  from  beyond  the  door  at  left). 
Good  Dame! 


THE  CHRISTMAS  GUEST  215 

Dame  Margaret 
(rising). 

It  is  thy  mother's  call. 
(raises  voice) 
Coming,  my  lady ! 

[Exits  hurriedly,  left. 

Rosamund 

(still  gazing  dreamily  into  fire). 

What  if  to  this  hall 
The  wondrous,  shining  Christmas  Angel  came, 
All  clothed  in  white,  with  wings  like  to  a  flame, 
Knocked  on  our  door  and 

Elinor. 

O,  I  quake  with  fear! 
Thou  dost  not  think  an  angel  will  come  'here? 

Rosamund 

(her  arm   about  her). 

Why  tremblest  thou? 

Elinor 

(shamefacedly). 

I'd  know  not  what  to  say 
Unto  an  angel — if  one  chanced  to  stay! 


216  THE  CHRISTMAS  GUEST 

Frances 

(wisely). 

Say?     Sooth,  it  is  the  time  of  deed,  not  word. 
It  is  the  birthday  of  our  gracious  Lord, 
So  to  the  angel  we  would  give  our  best, 
The  gifts  we  cherish  above  all  the  rest. 

[They   go    to   the   bench,   left,   taking  up   the 
gifts  as  they  speak. 

Rosamund. 
Then  I  would  give  my  cloak  of  glorious  hues. 

Elinor. 
And  I  my  hood ! 

Harold. 
And  I  my  fur-lined  shoes! 

Geoffrey. 
And  I  my  purse! 

Frances. 

And  I 

[A  knock  on  the  door  without. 

Harold 
(in  an  awed  voice). 

Some  one  is  there! 
Oner  the  door! 


THE  CHRISTMAS  GUEST  217 

Rosamund. 
Nay,  nay,  I  do  not  dare! 

Elinor 

(fearfully). 
If  it  should  be  the  Angel! 

Rosamund 

( '  commandingly  ) . 

Open,  straight! 
Ye  know  full  well  an  angel  should  not  wait. 

Elinor. 

Hark!     How  the  wind  wails !    And  the  fire  burns  low. 
I  am  afraid. 

Frances. 
Stay,  thou,  and  I  will  go. 
[The  children  stand  together,  silent  and  half 
fearful,  while  Frances  crosses  to  the  door 
and  opens  it.  On  the  threshold  appears  an 
old  Beggar,  tattered  and  forlorn,  yet  in 
spite  of  flapping  rags  wearing  a  strangely 
regal  aspect. 

The  Beggar 
(extending  palm). 
Hast  thou  any  alms  to  give  on  Christmas  night? 


218  THE  CHRISTMAS  GUEST 

Geoffrey 

(aside  to  the  others,  intensely  relieved). 

Nay,  'tis  no  angel  clothed  in  robes  of  light, 
*Tis  but  a  wandering  Beggar,  lean  and  old. 

Frances 
(to  beggar). 
Come  in  and  rest  thee.     It  is  bitter  cold. 

[Beggar  crosses  with  her  to  chair  by  fire, 
And  here  be  Christmas  cakes,  so  eat  and  sup, 

[Takes  them  from  table,  center. 
And  have  thy  fill. 

[Hands  flagon. 
The  Beggar. 

Sweet  to  the  lips  the  cup 
So  freely  given,  for  it  warms  the  heart, 
And  to  the  soul  true  joyance  doth  impart. 

Rosamund 
(aside  to  Geoffrey), 
That  speech  is  passing  strange.     What  means  it? 

Geoffrey 
(shaking  his  head,  much  mystified). 

Nay, 
I  do  not  know! 


THE  CHRISTMAS  GUEST  219 

Elinor 
(timidly,  to  beggar). 
Hast  thou  come  far  to-day? 


The  Beggar. 
Aye,  far!     From  a  Far  Country! 

Frances. 


Wilt  thou  not 


Let  me  refill  thy  cup? 

[She  and  the  Beggar  talk  in  dumb  show.  The 
other  children  withdraw  to  the  left  and  talk 
among  themselves,  with  ever-straying 
glances  towards  the  figure  by  the  fire. 

Rosamund 

(aside,  soberly). 

Bethink  the  lot 
Of  beggar  folk!     While  we  are  housed  and  warm 
They  fare  forth  cold  and  hungry  through  the  storm. 
The  chill  wind  makes  a  mock  of  what  they  wear, 
Their  poor  bones  feel  the  keen  and  searching  air; 
Knuckles  all  blue  with  frost,  and  feet  half-shod, 
Pierced  by  the  stones  and  brambles  they  have  trod. 

Harold. 

While  we  have  joys  and  comforts  manifold 
Are  we  not  churls  our  bounty  to  withhold? 


320  THE  CHRISTMAS  GUEST 

Geoffrey. 
Come,  then,  and  let  us  give  the  while  we  may. 

[They  cross  to  Beggar,  carrying  gifts. 

Geoffrey 

(fastening  shoes  on  Beggar's  feet). 

Wilt  thou  not  take  from  me  on  Christmas  day 
A  little  gift  to  smooth  the  roads  ye  tread? 

Harold 

(bestowing  purse). 

And  this,  perchance,  will  find  for  you  a  bed, 

The  highways  are  full  dark  and  cold  I  know, 

For  those  who  journey  friendless  through   the  snow. 

Frances. 

In  sooth,  why  should  you  trudge  the  road  again? 
To  share  our  peace  and  shelter  we  are  fain. 
Will  you  not  linger  while  the  Yule  logs  burn? 

The  Beggar. 
Nay!     To  that  country  far  I  must  return  1 

Elinor 
(shyly). 
Well,  then,  I  prithee  wear  this  hood  for  me! 


THE  CHRISTMAS  GUEST  221 

The  Beggar 
(rising). 
Now  in  the  name  of  sweet  Sainte  Charitie 
I  give  ye  thanks! 

Rosamund 
(approaching). 
And  pleasure  me  to  wear 
This  cloak  to  shield  ye  from  the  wintry  air* 

The  Beggar. 
It  is  a  finer  cloak  than  beggars  use. 

Rosamund 

(eagerly). 

But  thou  wilt  not  a  Christmas  gift  refuse? 
Wilt  thou  not  take  the  gift  as  friend  to  friend? 

[The    Beggar    looks    at    Rosamund    a     long 

moment    and    then    bows    head    in    assent. 

She    slips    the    cloak    about    the    Beggars 

shoulders. 

The  Beggar. 
Who  giveth  to  the  poor  doth  surely  lend! 

[Pauses  at  door,  facing  audience. 
In  time  to  come  may  there  be  shown  to  ye 
Such  welcome  as  ye  now  have  shown  to  me, 


222  THE  CHRISTMAS  GUEST 

And  when  ye  knock  the  door  be  opened  wide. 

[Raises  hand. 

Till  then  all  Christmas  peace  and  joy  abide 
Amongst  ye  always. 

[Exit  Beggu, , 
Frances 

(in  a  hushed  voice). 

As  the  Beggar  spoke 
'Twas  like  a  benediction,  and  the  cloak 
Fell  as  in  royal  folds. 


Geoffrey. 

Oh,  hast  thou  thought 
That  if  the  Angel  comes  we  now  have  nought 
To  give  in  greeting? 

[A    sudden    white    radiance    streams    in   from 
•without,  filling  the  darkened  room. 


Frances 

(at  window,  with  a  cry). 

Look !    There  where  but  now 
The  Beggar  stood  stands  one  about  whose  brow 
Flashes  a  glory  mystical  and  white. 
Oh,  'twas  no  Beggar  came  to  us  to-night! 


THE  CHRISTMAS  GUEST  223 

Rosamund. 

It  was  the  Angel!     And  we  did  not  know  I 

Frances. 

Grieve  not.     It  was  a  miracle.     For  lo, 
Humble  and  piteous  and  meanly  dressed 
fhe  Christmas  Angel  came  to  be  our  guest! 


Curtain 


EPILOGUE 


Spoken  by  the  Spirit  of  Yule 


Lordings  and  Ladies,  all  is  done, 
And  our  short  play  its  length  has  run. 
For  that  ye  heard  it  patiently 
We  give  most  humble  thanks  to  ye, 
And  bid  ye  think  of  this  glad  time 
Of  wassail  bowl  and  church  bell's  chime 
That  there  be  those  who  lack  for  bread, 
Who  have  not  where  to  lay  their  head. 
Forget  not  when  your  hearthstones  glow 
Those  other  hearths  whose  fires  are  low, 
That  giving  where  the  needy  are 
Ye  give  to  something  higher  far. 
And  now  good-night.     If,  of  your  grace 
Our  play  hath  pleased  you  for  a  space 
Right  glad  are  we,  and  well  content, 
And  count  our  labors  blithely  spent, 
And  wish  to  ye  what  ere  befall 
A  Merrie  Christmas,  one  and  all! 


*H 


COSTUMES 

The   Spirit  of  Yule:   Long  white  cashmere  robe, 

falling   in   straight    folds   from   neck,    edged   with 

white    swansdown,    and    bands    of    green    ribbon. 

White   sandals   laced    with    green.     Angel   sleeves 

falling  back  softly  from  arms.     Has  flowing  hair 

and   a  chaplet  of  holly  on   head.     Carries  a  tall 

white  staff  in  hand. 
Rosamund:  Quaint  dress  of  rose  colored  velvet,  cut 

from  a  square  neck  and  falling  in  folds  to  the  floor. 

Angel  sleeves.     White  lace  edging  neck.     Cap  of 

white  lace  on  head. 
Elinor:   Pale   blue   cloth   made   in   same   fashion    as 

Rosamund's. 
Frances:  White  brocade.     Edging  of  brown  fur  and 

gold.     Made  in  same  quaint  fashion  as  other  two. 
Geoffrey:  Trunk  hose  and  suit  of  dark  purple — the 

tunic    cut   plain.      Leather    girdle    and    pouch    at 

waist. 
Harold:  Suit  same  style.     Dark  green. 
Dame    Margaret:    Gray    dress    of    woolen    cloth. 

Crossed   white   kerchief.      Fifteenth   Century   cap. 

The  shoes   are   all    in    the   soft   pointed   style   of 

u  Romeo  "  slippers. 


226  COSTUMES 

The  Beggar:  Dark  brown   ragged  robe  and  cloak, 

and  a  head-covering  something  like  a  monk's  cowl 

in  that  it  should  shadow  the  face.     White  stockings 

to  simulate  bare  feet,  with  coarse  leather  sandals 

much  torn  and  worn,  and  fastened  with  thongs. 

The  parts  are   for  children   from  ten   to   fourteen. 

Dame  Margaret  should  be  played  by  a  mature-looking 

child,  the  Beggar  by  some  one  who  overtops  the  other 

children  in  height,  and   Harold  and  little  Elinor  by 

the  youngest  children  in  the  cast. 

Crimson  light  turned  on  in  the  firelight  will  give 
the  desired  "  Hearth  glow  "  effect. 


14  DAY  USE 

RETURN  TO  DESK  FROM  WHICH  BORROWED 

LOAN  DEPT. 

This  book  is  due  on  the  last  date  stamped  below,  or 
This  booK  is  one  h  renewed. 


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General  Library 

University  of  California 

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